Chapter 18

But what good purpose is attained by such caprices? In three sentences the sum of the philosophy may be stated. It has been computed (see _Duclos_) that the Italian opera has not above six hundred words in its whole vocabulary: so narrow is the range of its emotions, and so little are these emotions disposed to expand themselves into any variety of thinking. The same remark applies to that class of simple, household, homely passion, which belongs to the early ballad poetry. Their passion is of a quality more venerable, it is true, and deeper than that of the opera, because more permanent and coextensive with human life; but it is not much wider in its sphere, nor more apt to coalesce with contemplative or philosophic thinking. Pass from these narrow fields of the intellect, where the relations of the objects are so few and simple, and the whole prospect so bounded, to the immeasurable and sea-like arena upon which Shakspeare careers--co-infinite with life itself--yes, and with something more than life. Here is the other pole, the opposite extreme. And what is the choice of diction? What is the _lexis_? Is it Saxon exclusively, or is it Saxon by preference? So far from that, the Latinity is intense--not, indeed, in his construction, but in his choice of words; and so continually are these Latin words used, with a critical respect to their earliest (and, where _that_ happens to have existed, to their unfigurative) meaning, that, upon this one argument I would rely for upsetting the else impregnable thesis of Dr. Farmer as to Shakspeare's learning. Nay, I will affirm that, out of this regard to the Latin acceptation of Latin words, may be absolutely explained the Shakspearian meaning of certain words, which has hitherto baffled all his critics. For instance, the word _modern_, of which Dr. Johnson professes himself unable to explain the _rationale_ or principle regulating its Shakspearian use, though he felt its value, it is to be deduced thus: First of all, change the pronunciation a little, by substituting for the short _o_, as we pronounce it in _modern_, the long _o_, as heard in _modish_, and you will then, perhaps, perceive the process of analogy by which it passed into the Shakspearian use. The _matter_ or substance of a thing is, usually, so much more important than its fashion or _manner_, that we have hence adopted, as one way for expressing what is important as opposed to what is trivial, the word _material_. Now, by parity of reason, we are entitled to invert this order, and to express what is unimportant by some word indicating the mere fashion or external manner of an object as opposed to its substance. This is effected by the word _modal_ or _modern_, as the adjective from _modus_, a fashion or manner; and in that sense Shakspeare employs the word. Thus, Cleopatra, undervaluing to Caesar's agent the bijouterie which she has kept back from inventory, and which her treacherous steward had betrayed, describes them as mere trifles

"Such gifts as we greet modern friends withal;"

where all commentators have _felt_ that modern must form the position, mean, slight, and inconsiderable, though perplexed to say how it came by such a meaning. A _modern_ friend is, in the Shakspearian sense, with relation to a real and serviceable friend, that which the fashion of a thing is, by comparison with its substance. But a still better illustration may be taken from a common line, quoted every day, and ludicrously misinterpreted. In the famous picture of life--"All the world's a stage"--the justice of the piece is described as

"Full of wise saws and modern instances;"

which (_horrendum dictu!_) has been explained, and, I verily believe, is generally understood to mean, _full of wise sayings and modern illustrations_. The true meaning is--full of proverbial maxims of conduct and of trivial arguments; that is, of petty distinctions, or verbal disputes, such as never touch the point at issue. The word _modern_ I have already deduced; the word _instances_ is equally Latin, and equally used by Shakspeare in its Latin sense. It is originally the word _instantia_, which, by the monkish and scholastic writers, is uniformly used in the sense of an argument, and originally of an argument urged in objection to some previous argument. [Footnote: I cannot for a moment believe that the original and most eloquent critic in _Blackwood_ is himself the dupe of an argument, which he has alleged against this passage, under too open a hatred of Shakspeare, as though it involved a contradiction to common sense, by representing _all_ human beings of such an age as school-boys, all of such another age as soldiers, of such another as magistrates, &c. Evidently the logic of the famous passage is this that whereas every age has its peculiar and appropriate temper, that profession or employment is selected for the exemplification which seems best fitted, in each case, to embody the characteristic or predominating quality. Thus, because impetuosity, self-esteem, and animal or irreflective courage, are qualities most intense in youth, next it is considered in what profession those qualities find their most unlimited range; and because that is obviously the military profession, therefore it is that the soldier is selected as the representative of young men. For the same reason, as best embodying the peculiar temper of garrulous old age, the magistrate comes forward as supporting the part of that age. Not that old men are not also soldiers; but that the military profession, so far from strengthening, moderates and tempers the characteristic temper of old age.]

I affirm, therefore, that Lord Brougham's counsel to the Glasgow students is not only bad counsel,--and bad counsel for the result, as well as for the grounds, which are either capricious or nugatory,--but also that, in the exact proportion in which the range of thought expands, it is an impossible counsel, an impracticable counsel--a counsel having for its purpose to embarrass and lay the mind in fetters, where even its utmost freedom and its largest resources will be found all too little for the growing necessities of the intellect. "Long-tailed words in _osity_ and _ation_!" What does _that_ describe? Exactly the Latin part of our language. Now, those very terminations speak for themselves:--All high abstractions end in _ation_; that is, they are Latin; and, just in proportion as the abstracting power extends and widens, do the circles of thought widen, and the horizon or boundary (contradicting its own Grecian name) melts into the infinite. On this account it was that Coleridge (_Biographia Literaria_) remarks on Wordsworth's philosophical poetry, that, in proportion as it goes into the profound of passion and of thought, do the words increase which are vulgarly called "_dictionary_ words." Now, these words, these "dictionary" words, what are they? Simply words of Latin or Greek origin: no other words, no Saxon words, are ever called by illiterate persons dictionary words. And these dictionary words are indispensable to a writer, not only in the proportion by which he transcends other writers as to extent and as to subtility of thinking, but also as to elevation and sublimity. Milton was not an extensive or discursive thinker, as Shakspeare was; for the motions of his mind were slow, solemn, sequacious, like those of the planets; not agile and assimilative; not attracting all things within its own sphere; not multiform: repulsion was the law of his intellect--he moved in solitary grandeur. Yet, merely from this quality of grandeur, unapproachable grandeur, his intellect demanded a larger infusion of Latinity into his diction.

For the same reason (and, without such aids, he would have had no proper element in which to move his wings) he enriched his diction with Hellenisms and with Hebraisms; [Footnote: The diction of Milton is a case absolutely unique in literature: of many writers it has been said, but of him only with truth, that he created a peculiar language. The value must be tried by the result, not by inferences from _a priori_ principles; such inferences might lead us to anticipate an unfortunate result; whereas, in fact, the diction of Milton is such that no other could have supported his majestic style of thinking. The final result is a _transcendant_ answer to all adverse criticism; but still it is to be lamented that no man properly qualified has undertaken the examination of the Miltonic diction as a separate problem. Listen to a popular author of this day (Mr. Bulwer). He, speaking on this subject, asserts (_England and the English_, p. 329), that, "_There is scarcely an English idiom which Milton has not violated, or a foreign one which he has not borrowed._" Now, in answer to this extravagant assertion, I will venture to say that the two following are the sole cases of questionable idiom throughout Milton:--1st, "Yet virgin of Proserpine from Jove;" and, in this case, the same thing might be urged in apology which Aristotle urges in another argument, namely, that _anonymon to pathos_, the case is unprovided with _any_ suitable expression. How would it be possible to convey in good English the circumstances here indicated--namely, that Ceres was yet in those days of maiden innocence, when she had borne no daughter to Jove? Second, I will cite a case which, so far as I remember, has been noticed by no commentator; and, probably, because they have failed to understand it. The case occurs in the "Paradise Regained;" but where I do not at this moment remember. "Will they _transact_ with God?" This is the passage; and a most flagrant instance it offers of pure Latinism. _Transigere_, in the language of the civil law, means to make a compromise; and the word _transact_ is here used in that sense--a sense utterly unknown to the English language. This is the worst case in Milton; and I do not know that it has been ever noticed. Yet even here it may be doubted whether Milton is not defensible; asking if they proposed to terminate their difference with God after the fashion in use amongst courts of law, he points properly enough to these worldly settlements by the technical term which designated them. Thus, might a divine say: Will he arrest the judgments of God by a _demurrer_? Thus, again, Hamlet apostrophizes the lawyer's skull by the technical terms used in actions for assault, &c. Besides, what proper term is there in English for expressing a compromise? Edmund Burke, and other much older authors, express the idea by the word _temperament_; but that word, though a good one, was at one time considered an exotic term--equally a Gallicism and a Latinism.] but never, as could be easy to show, without a full justification in the result. Two things may be asserted of all his exotic idioms--1st, That they express what could not have been expressed by any native idiom; 2d, That they harmonize with the English language, and give a coloring of the antique, but not any sense of strangeness to the diction. Thus, in the double negative, "Nor did they not perceive," &c., which is classed as a Hebraism--if any man fancy that it expresses no more than the simple affirmative, he shows that he does not understand its force; and, at the same time, it is a form of thought so natural and universal, that I have heard English people, under corresponding circumstances, spontaneously fall into it. In short, whether a man differ from others by greater profundity or by greater sublimity, and whether he write as a poet or as a philosopher, in any case, he feels, in due proportion to the necessities of his intellect, an increasing dependence upon the Latin section of the English language; and the true reason why Lord Brougham failed to perceive this, or found the Saxon equal to his wants, is one which I shall not scruple to assign, inasmuch as it does not reflect personally on Lord Brougham, or, at least, on him exclusively, but on the whole body to which he belongs. That thing which he and they call by the pompous name of statesmanship, but which is, in fact, _statescraft_--the art of political intrigue--deals (like the opera) with ideas so few in number, and so little adapted to associate themselves with other ideas, that, possibly, in the one case equally as in the other, six hundred words are sufficient to meet all their demands.

I have used my privilege of discursiveness to step aside from Demosthenes to another subject, no otherwise connected with the Attic orator than, first, by the common reference of both subjects to rhetoric; but, secondly, by the accident of having been jointly discussed by Lord Brougham in a paper, which (though now forgotten) obtained, at the moment, most undue celebrity. For it is one of the infirmities of the public mind with us, that whatever is said or done by a public man, any opinion given by a member of Parliament, however much out of his own proper jurisdiction and range of inquiry, commands an attention not conceded even to those who speak under the known privilege of professional knowledge. Thus, Cowper was not discovered to be a poet worthy of any general notice, until Charles Fox, a most slender critic, had vouchsafed to quote a few lines, and that, not so much with a view to the poetry, as to its party application. But now, returning to Demosthenes, I affirm that his case is the case of nearly all the classical writers,--at least, of all the prose writers. It is, I admit, an extreme one; that is, it is the general case in a more intense degree. Raised almost to divine honors, never mentioned but with affected rapture, the classics of Greece and Rome are seldom read, most of them never; are they, indeed, the closet companions of any man? Surely it is time that these follies were at an end; that our practice were made to square a little better with our professions; and that our pleasures were sincerely drawn from those sources in which we pretend that they lie.

The Greek language, mastered in any eminent degree, is the very rarest of all accomplishments, and precisely because it is unspeakably the most difficult. Let not the reader dupe himself by popular cant. To be an accomplished Grecian, demands a very peculiar quality of talent; and it is almost inevitable that one who is such should be vain of a distinction which represents so much labor and difficulty overcome. For myself, having, as a school-boy, attained to a very unusual mastery over this language, and (though as yet little familiar with the elaborate science of Greek metre) moving through all the obstacles and resistances of a Greek book with the same celerity and ease as through those of the French and Latin, I had, in vanquishing the difficulties of the language, lost the main stimulus to its cultivation. Still, I read Greek daily; but any slight vanity which I might connect with a power so rarely attained, and which, under ordinary circumstances, so readily transmutes itself into a disproportionate admiration of the author, in me was absolutely swallowed up in the tremendous hold taken of my entire sensibilities at this time by our own literature. With what fury would I often exclaim: He who loveth not his brother whom he hath seen, how shall he love God whom he hath not seen? You, Mr. A, L, M, O, you who care not for Milton, and value not the dark sublimities which rest ultimately (as we all feel) upon dread realities, how can you seriously thrill in sympathy with the spurious and fanciful sublimities of the classical poetry--with the nod of the Olympian Jove, or the seven-league strides of Neptune? Flying Childers had the most prodigious stride of any horse on record; and at Newmarket that is justly held to be a great merit; but it is hardly a qualification for a Pantheon. The parting of Hector and Andromache--that is tender, doubtless; but how many passages of far deeper, far diviner tenderness, are to be found in Chaucer! Yet in these cases we give our antagonist the benefit of an appeal to what is really best and most effective in the ancient literature. For, if we should go to Pindar, and some other great names, what a revelation of hypocrisy as respects the _fade_ enthusiasts for the Greek poetry!

Still, in the Greek tragedy, however otherwise embittered against ancient literature by the dismal affectations current in the scenical poetry, at least I felt the presence of a great and original power. It might be a power inferior, upon the whole, to that which presides in the English tragedy; I believed that it was; but it was equally genuine, and appealed equally to real and deep sensibilities in our nature. Yet, also, I felt that the two powers at work in the two forms of the drama were essentially different; and without having read a line of German at that time, or knowing of any such controversy, I began to meditate on the elementary grounds of difference between the Pagan and the Christian forms of poetry. The dispute has since been carried on extensively in France, not less than in Germany, as between the _classical_ and the _romantic_. But I will venture to assert that not one step in advance has been made, up to this day. The shape into which I threw the question it may be well to state; because I am persuaded that out of that one idea, properly pursued, might be evolved the whole separate characteristics of the Christian and the antique: Why is it, I asked, that the Christian idea of _sin_ is an idea utterly unknown to the Pagan mind? The Greeks and Romans had a clear conception of a moral ideal, as we have; but this they estimated by a reference to the will; and they called it virtue, and the antithesis they called vice. The _lacheté_ or relaxed energy of the will, by which it yielded to the seductions of sensual pleasure, that was vice; and the braced-up tone by which it resisted these seductions was virtue. But the idea of holiness, and the antithetic idea of sin, as a violation of this awful and unimaginable sanctity, was so utterly undeveloped in the Pagan mind, that no word exists in classical Greek or classical Latin which approaches either pole of this synthesis; neither the idea of _holiness_, nor of its correlate, _sin_, could be so expressed in Latin as at once to satisfy Cicero and a scientific Christian. Again (but this was some years after), I found Schiller and Goethe applauding the better taste of the ancients, in symbolizing the idea of death by a beautiful youth, with a torch inverted, &c., as compared with the Christian types of a skeleton and hour-glasses, &c. And much surprised I was to hear Mr. Coleridge approving of this German sentiment. Yet, here again I felt the peculiar genius of Christianity was covertly at work moving upon a different road, and under opposite ideas, to a just result, in which the harsh and austere expression yet pointed to a dark reality, whilst the beautiful Greek adumbration was, in fact, a veil and a disguise. The corruptions and the other "dishonors" of the grave, and whatsoever composes the sting of death in the Christian view, is traced up to sin as its ultimate cause. Hence, besides the expression of Christian humility, in thus nakedly exhibiting the wrecks and ruins made by sin, there is also a latent profession indicated of Christian hope. For the Christian contemplates steadfastly, though with trembling awe, the lowest point of his descent; since, for him, that point, the last of his fall, is also the first of his reäscent, and serves, besides, as an exponent of its infinity; the infinite depth becoming, in the rebound, a measure of the infinite reäscent. Whereas, on the contrary, with the gloomy uncertainties of a Pagan on the question of his final restoration, and also (which must not be overlooked) with his utter perplexity as to the nature of his restoration, if any were by accident in reserve, whether in a condition tending downwards or upwards, it was the natural resource to consult the general feeling of anxiety and distrust, by throwing a thick curtain and a veil of beauty over the whole too painful subject. To place the horrors in high relief, could here have answered no purpose but that of wanton cruelty; whereas, with the Christian hopes, the very saddest memorials of the havocs made by death are antagonist prefigurations of great victories in the rear.

These speculations, at that time, I pursued earnestly; and I then believed myself, as I yet do, to have ascertained the two great and opposite laws under which the Grecian and the English tragedy has each separately developed itself. Whether wrong or right in that belief, sure I am that those in Germany who have treated the case of classical and romantic are not entitled to credit for any discovery at all. The Schlegels, who were the hollowest of men, the windiest and wordiest (at least, Frederic was so), pointed to the distinction; barely indicated it; and that was already some service done, because a presumption arose that the antique and the modern literatures, having clearly some essential differences, might, perhaps, rest on foundations originally distinct, and obey different laws. And hence it occurred that many disputes, as about the unities, etc., might originate in a confusion of these laws. This checks the presumption of the shallow criticism, and points to deeper investigations. Beyond this, neither the German nor the French disputers on the subject have talked to any profitable purpose.

I have mentioned Paley as accidentally connected with my _début_ in literary conversation; and I have taken occasion to say how much I admired his style and its unstudied graces, how profoundly I despised his philosophy. I shall here say a word or two more on that subject. As respects his style, though secretly despising the opinion avowed by my tutor (which was, however, a natural opinion for a stiff lover of the artificial and the pompous), I would just as unwillingly be supposed to adopt the extravagant opinions, in the other extreme, of Dr. Parr and Mr. Coleridge. These two gentlemen, who privately hated Paley, and, perhaps, traduced him, have hung like bees over one particular paragraph in his Evidences, as though it were a flower transplanted from Hymettus. Dr. Parr pronounced it the finest sentence in the English language. It is a period (that is, a cluster of sentences) moderately well, but not _too_ well constructed, as the German nurses are accustomed to say. Its felicity depends on a trick easily imitated--on a balance happily placed (namely, "_in which the wisest of mankind would rejoice to find an answer to their doubts, and rest to their inquiries_"). As a _bravura_, or _tour de force_, in the dazzling fence of rhetoric, it is surpassed by many hundreds of passages which might be produced from rhetoricians; or, to confine myself to Paley's contemporaries, it is very far surpassed by a particular passage in Burke's letter upon the Duke of Bedford's base attack upon him in the House of Lords; which passage I shall elsewhere produce, because I happen to know, on the authority of Burke's executors, that Burke himself considered it the finest period which he had ever written. At present, I will only make one remark, namely, that it is always injudicious, in the highest degree, to cite for admiration that which is not a _representative_ specimen of the author's manner. In reading Lucian, I once stumbled on a passage of German pathos, and of German effect. Would it have been wise, or would it have been intellectually just, to quote this as the text of an eulogium on Lucian? What false criticism it would have suggested to every reader! what false anticipations! To quote a formal and periodic pile of sentences, was to give the feeling that Paley was what the regular rhetorical artists designate as a periodic writer, when, in fact, no one conceivable character of style more pointedly contradicted the true description of his merits.