Part 4

If anything could provoke Gibbon's placid shade, it would be the light and airy way his military experiences are often spoken of, as if, like a modern volunteer, he had but attended an Easter Monday review. I do not believe the history of literature affords an equally striking example of self-sacrifice. He was the most sedentary of men. He hated exercise, and rarely took any. Once after spending some weeks in the summer at Lord Sheffield's country place, when about to go, his hat was missing. 'When,' he was asked, 'did you last see it?' 'On my arrival,' he replied. 'I left it on the hall-table; I have had no occasion for it since.' Lord Sheffield's guests always knew that they would find Mr. Gibbon in the library, and meet him at the dinner-table. He abhorred a horse. His one vocation, and his only avocation, was reading, not lazy glancing and skipping, but downright savage reading--geography, chronology, and all the tougher sides of history. What glorious, what martial times, indeed, must those have been that made Mr. Gibbon leap into the saddle, desert his books, and for two mortal years and a half live in camps! He was two months at Blandford, three months at Cranbrook, six months at Dover, four months at Devizes, as many at Salisbury, and six more at Southampton, where the troops were disbanded. During all this time Captain Gibbon was energetically employed. He dictated the orders and exercised the battalion. It did him a world of good. What a pity Carlyle could not have been subjected to the same discipline! The cessation, too, of his habit of continued reading, gave him time for a little thinking, and when he returned to his father's house, in Hampshire, he had become fixed in his determination to write a history, though of what was still undecided.

I am rather afraid to say it, for no two men could well be more unlike one another, but Gibbon always reminds me in an odd inverted way of Milton. I suppose it is because as the one is our grandest author, so the other is our most grandiose. Both are self-conscious and make no apology--Milton magnificently self-conscious, Gibbon splendidly so. Everyone knows the great passages in which Milton, in 1642, asked the readers of his pamphlet on the reason of Church government urged against prelacy, to go on trust with him for some years for his great unwritten poem, as 'being a work not to be raised from the heat of youth or the vapour of wine, like that which flows at waste from the pen of some vulgar amorist or the trencher fury of a rhyming parasite, nor to be obtained by the invocation of Dame Memory and her seven daughters, but by devout prayer to that Eternal Spirit who can enrich with all utterance and knowledge, and sends out His seraphim with the hallow'd fire of His Altar to touch and purify the lips of whom He pleases: to this must be added industrious and select reading, study, observation and insight into all seemly opinions, arts, and affairs.' Different men, different minds. There are things terrestrial as well as things celestial. Certainly Gibbon's _Autobiography_ contains no passages like those which are to be found in Milton's pamphlets; but for all that he, in his mundane way, consecrated himself for his self-imposed task, and spared no toil to equip himself for it. He, too, no less than Milton, had his high hope and his hard attempting. He tells us in his stateliest way how he first thought of one subject, and then another, and what progress he had made in his different schemes before he abandoned them, and what reasons induced him so to do. Providence watched over the future historian of the Roman Empire as surely as it did over the future author of _Paradise Lost_, as surely as it does over everyone who has it in him to do anything really great. Milton, we know, in early life was enamoured of King Arthur, and had it in his mind to make that blameless king the hero of his promised epic, but

'What resounds In fable or romance of Uther's son, Begirt with British and Amoric knights,'

can brook a moment's comparison with the baffled hero of _Paradise Lost_; so too, what a mercy that Gibbon did not fritter away his splendid energy, as he once contemplated doing, on Sir Walter Raleigh, or squander his talents on a history of Switzerland or even of Florence!

After the disbanding of the militia Gibbon obtained his father's consent to spend the money it was originally proposed to lay out in buying him a seat in Parliament, upon foreign travel, and early in 1763 he reached Paris, where he abode three months. An accomplished scholar whose too early death all who knew him can never cease to deplore, Mr. Cotter Morison, whose sketch of Gibbon is, by general consent, admitted to be one of the most valuable books of a delightful series, does his best, with but partial success, to conceal his annoyance at Gibbon's stupidly placid enjoyment of Paris and French cookery. 'He does not seem to be aware,' says Mr. Morison, 'that he was witnessing one of the most singular social phases which have ever yet been presented in the history of man.' Mr. Morison does not, indeed, blame Gibbon for this, but having, as he had, the most intimate acquaintance with this period of French history, and knowing the tremendous issues involved in it, he could not but be chagrined to notice how Gibbon remained callous and impervious. And, indeed, when the Revolution came it took no one more by surprise than it did the man who had written the _Decline and Fall of the Roman Empire_. Writing, in 1792, to Lord Sheffield, Gibbon says, 'Remember the proud fabric of the French monarchy: not four years ago it stood founded, and might it not seem on the rock of time, force, and opinion, supported by the triple authority of the Church, the Nobility, and the Parliament?' But the Revolution came for all that; and what, when it did come, did it teach Mr. Gibbon? 'Do not, I beseech you, tamper with Parliamentary representation. If you begin to improve the Constitution, you may be driven step by step from the disfranchisement of Old Sarum to the King in Newgate; the Lords voted useless, the bishops abolished, the House of Commons _sans culottes_.' The importance of shutting off the steam and sitting on the safety-valve was what the French Revolution taught Mr. Gibbon. Mr. Bagehot says: 'Gibbon's horror of the French Revolution was derived from the fact that he had arrived at the conclusion that he was the sort of person a populace invariably kills.' An excellent reason, in my opinion, for hating revolution, but not for misunderstanding it.

After leaving Paris Gibbon lived nearly a year in Lausanne, reading hard to prepare himself for Italy. He made his own handbook. At last he felt himself fit to cross the Alps, which he did seated in an osier basket planted on a man's shoulders. He did not envy Hannibal his elephant. He lingered four months in Florence, and then entered Rome in a spirit of the most genuine and romantic enthusiasm. His zeal made him positively active, though it is impossible to resist a smile at the picture he draws of himself 'treading with a lofty step the ruins of the Forum.' He was in Rome eighteen weeks; there he had, as we saw at the beginning, his heavenly vision, to which he was not disobedient. He paid a visit of six weeks' duration to Naples, and then returned home more rapidly. 'The spectacle of Venice,' he says, 'afforded some hours of astonishment.' Gibbon has sometimes been called 'long-winded,' but when he chooses, nobody can be shorter with either a city or a century.

He returned to England in 1765, and for five rather dull years lived in his father's house in the country or in London lodgings. In 1770 his father died, and in 1772 Gibbon took a house in Bentinck Street, Manchester Square, filled it with books--for in those days it must not be forgotten there was no public library of any kind in London--and worked hard at his first volume, which appeared in February, 1775. It made him famous, also infamous, since it concluded with the fifteenth and sixteenth chapters on Christianity. In 1781 two more volumes appeared. In 1783 he gave up Parliament and London, and rolled over Westminster Bridge in a post-chaise, on his way to Lausanne, where he had his home for the rest of his days. In May, 1788, the three last volumes appeared. He died in St. James's Street whilst on a visit to London, on the 15th of January, 1794, of a complaint of a most pronounced character, which he had with characteristic and almost criminal indolence totally neglected for thirty years. He was buried in Fletching Churchyard, Sussex, in the family burial-place of his faithful friend and model editor, the first Lord Sheffield. He had not completed his fifty-eighth year.

* * * * *

Before concluding with a few very humble observations on Gibbon's writings, something ought to be said about him as a social being. In this aspect he had distinguished merit, though his fondness of, and fitness for, society came late. He had no schooldays, no college days, no gilded youth. From sixteen to twenty-one he lived poorly in Lausanne, and came home more Swiss than English. Nor was his father of any use to him. It took him a long time to rub off his shyness; but the militia, Paris, and Rome, and, above all, the proud consciousness of a noble design, made a man of him, and after 1772, he became a well-known figure in London society. He was a man of fashion as well as of letters. In this respect, and, indeed, in all others, except their common love of learning, he differed from Dr. Johnson. Lords and ladies, remarked that high authority, don't like having their mouths shut. Gibbon never shut anybody's mouth, and in Johnson's presence rarely opened his own. Johnson's dislike of Gibbon does not seem to have been based upon his heterodoxy, but his ugliness. 'He is such an amazing ugly fellow,' said that Adonis. Boswell follows suit, and, with still less claim to be critical, complains loudly of Gibbon's ugliness. He also hated him very sincerely. 'The fellow poisons the whole club to me,' he cries. I feel sorry for Boswell, who has deserved well of the human race. Ironical people like Gibbon are rarely tolerant of brilliant folly. Gibbon, no doubt, was ugly. We get a glance at him in one of Horace Walpole's letters, which, sparkling as it does with vanity, spite, and humour, is always pleasant. He is writing to Mr. Mason:

'You will be diverted to hear that Mr. Gibbon has quarrelled with me. He lent me his second volume in the middle of November; I returned it with a most civil panegyric. He came for more incense. I gave it, but, alas! with too much sincerity; I added: "Mr. Gibbon, I am sorry _you_ should have pitched on so disgusting a subject as the Constantinopolitan history. There is so much of the Arians and Eunomians and semi-Pelagians; and there is such a strange contrast between Roman and Gothic manners, that, though you have written the story as well as it could be written, I fear few will have patience to read it." He coloured, all his round features squeezed themselves into sharp angles; he screwed up his button-mouth, and rapping his snuff-box, said, "It had never been put together before"--so _well_ he meant to add, but gulped it. He meant so _well_, certainly, for Tillemont, whom he quotes in every page, has done the very thing. Well, from that hour to this, I have never seen him, though he used to call once or twice a week; nor has he sent me the third volume, as he promised. I well knew his vanity, even about his ridiculous face and person, but thought he had too much sense to avow it so palpably.' 'So much,' adds Walpole, with sublime nescience of the verdict of posterity upon his own most amusing self, 'so much for literature and its fops.'

Male ugliness is an endearing quality, and in a man of great talents it assists his reputation. It mollifies our inferiority to be able to add to our honest admiration of anyone's great intellectual merit, 'But did you ever see such a chin!'

Nobody except Johnson, who was morbid on the subject of looks, liked Gibbon the less for having a button-mouth and a ridiculous nose. He was, Johnson and Boswell apart, a popular member of the club. Sir Joshua and he were, in particular, great cronies, and went about to all kinds of places, and mixed in every sort of society. In May, June, and July, 1779, Gibbon sat for his picture--that famous portrait to be found at the beginning of every edition of the History. Sir Joshua notes in his Diary: 'No new sitters--hard at work repainting the "Nativity," and busy with sittings of Gibbon.'

If we are to believe contemporary gossip, this was not the first time Reynolds had depicted the historian. Some years earlier the great painter had executed a celebrated portrait of Dr. Beattie, still pleasingly remembered by the lovers of old-fashioned poetry as the poet of _The Minstrel_, but who, in 1773, was better known as the author of an _Essay on Truth_. This personage, who in later life, it is melancholy to relate, took to drinking, is represented in Reynolds's picture in his Oxford gown of Doctor of Laws, with his famous essay under his arm, while beside him is Truth, habited as an angel, holding in one hand a pair of scales, and with the other thrusting down three frightful figures emblematic of Sophistry, Scepticism, and Infidelity. That Voltaire and Hume stood for two of these figures was no secret, but it was whispered Gibbon was the third. Even if so, an incident so trifling was not likely to ruffle the composure, or prevent the intimacy, of two such good-tempered men as Reynolds and Gibbon. The latter was immensely proud of Reynolds's portrait--the authorised portrait, of course--the one for which he had paid. He had it hanging up in his library at Lausanne, and, if we may believe Charles Fox, was fonder of looking at it than out of the window upon that incomparable landscape, with indifference to which he had twitted St. Bernard.

But, as I have said, Gibbon was a man of fashion as well as a man of letters. In another volume of Walpole we have a glimpse of him playing a rubber of whist. His opponents were Horace himself, and Lady Beck. His partner was a lady whom Walpole irreverently calls the Archbishopess of Canterbury.[5] At Brooks's, White's, and Boodle's, Gibbon was a prime favourite. His quiet manner, ironical humour, and perpetual good temper made him excellent company. He is, indeed, reported once, at Brooks's, to have expressed a desire to see the heads of Lord North and half a dozen ministers on the table; but as this was only a few days before he accepted a seat at the Board of Trade at their hands, his wrath was evidently of the kind that does not allow the sun to go down upon it. His moods were usually mild:

'Soon as to Brooks's thence thy footsteps bend, What gratulations thy approach attend! See Gibbon rap his box, auspicious sign That classic wit and compliment combine.'

To praise Gibbon heartily, you must speak in low tones. 'His cheek,' says Mr. Morison, 'rarely flushes in enthusiasm for a good cause.' He was, indeed, not obviously on the side of the angels. But he was a dutiful son to a trying father, an affectionate and thoughtful stepson to a stepmother who survived him, and the most faithful and warm-hearted of friends. In this article of friendship he not only approaches, but reaches, the romantic. While in his teens he made friends with a Swiss of his own age. A quarter of a century later on, we find the boyish companions chumming together, under the same roof at Lausanne, and delighting in each other's society. His attachment to Lord Sheffield is a beautiful thing. It is impossible to read Gibbon's letters without responding to the feeling which breathes through Lord Sheffield's preface to the miscellaneous writings:

'The letters will prove how pleasant, friendly, and amiable Mr. Gibbon was in private life; and if in publishing letters so flattering to myself I incur the imputation of vanity, I meet the charge with a frank confession that I am indeed highly vain of having enjoyed for so many years the esteem, the confidence, and the affection of a man whose social qualities endeared him to the most accomplished society, whose talents, great as they were, must be acknowledged to have been fully equalled by the sincerity of his friendship.'

To have been pleasant, friendly, amiable and sincere in friendship, to have written the _Decline and Fall of the Roman Empire_, and the _Autobiography_, must be Gibbon's excuse for his unflushing cheek.

To praise Gibbon is not wholly superfluous; to commend his history would be so. In May, 1888, it attained, as a whole, its hundredth year. Time has not told upon it. It stands unaltered, and with its authority unimpaired. It would be invidious to name the histories it has seen born and die. Its shortcomings have been pointed out--it is well; its inequalities exposed--that is fair; its style criticised--that is just. But it is still read. 'Whatever else is read,' says Professor Freeman, 'Gibbon must be.'

The tone he thought fit to adopt towards Christianity was, quite apart from all particular considerations, a mistaken one. No man is big enough to speak slightingly of the constructions his fellow-men have from time to time put upon the Infinite. And conduct which in a philosopher is ill-judged, is in an historian ridiculous. Gibbon's sneers could not alter the fact that his History, which he elected to style the _Decline and Fall of the Roman Empire_, might equally well, as Dean Stanley has observed, have been called the 'Rise and Progress of the Christian Church.' This tone of Gibbon's was the more unfortunate because he was not of those men who are by the order of their minds incapable of theology. He was an admirable theologian, and, even as it is, we have Cardinal Newman's authority for the assertion, that Gibbon is the only Church historian worthy of the name who has written in English.

Gibbon's love of the unseemly may also be deprecated. His is not the boisterous impropriety which may sometimes be observed staggering across the pages of Mr. Carlyle, but the more offensive variety which is overheard sniggering in the notes.

The importance, the final value, of Gibbon's History has been assailed in high quarters. Coleridge, in a well-known passage in his _Table Talk_--too long to be quoted--said Gibbon was a man of immense reading; but he had no philosophy. 'I protest,' he adds, 'I do not remember a single philosophical attempt made throughout the work to fathom the ultimate causes of the decline and fall of the empire.' This spoiled Gibbon for Coleridge, who has told us that 'though he had read all the famous histories, and he believed some history of every country or nation, that is or ever existed, he had never done so for the story itself--the only thing interesting to him being the principles to be evolved from and illustrated by the facts.'

I am not going to insult the majestic though thickly-veiled figure of the Philosophy of History. Every sensible man, though he might blush to be called a philosopher, must wish to be the wiser for his reading; but it may, I think, be fairly said that the first business of an historian is to tell his story, nobly and splendidly, with vivacity and vigour. Then I do not see why we children of a larger growth may not be interested in the annals of mankind simply as a story, without worrying every moment to evolve principles from each part of it. If I choose to be interested in the colour of Mary Queen of Scots' eyes, or the authorship of the _Letters of Junius_, I claim the right to be so. Of course, if I imagine either of these subjects to be matters of importance--if I devote my life to their elucidation, if I bore my friends with presentation pamphlets about them--why, then, I am either a feeble fribble or an industrious fool; but if I do none of these things I ought to be left in peace, and not ridiculed by those who seem to regard the noble stream of events much as Brindley did rivers--mainly as something which fills their ugly canals of dreary and frequently false comment.

But, thirdly, whilst yielding the first place to philosophy, divine philosophy, as I suppose, when one comes to die, one will be glad to have done, it is desirable that the text and the comment should be kept separate and apart. The historian who loads his frail craft with that perilous and shifting freight, philosophy, adds immensely to the dangers of his voyage across the ocean of Time. Gibbon was no fool, yet it is as certain as anything can be, that had he put much of his philosophy into his history, both would have gone to the bottom long ago. And even better philosophy than Gibbon's would have been, is apt to grow mouldy in a quarter of a century, and to need three new coats of good oily rhetoric, to make it presentable to each new generation.

Gibbon was neither a great thinker nor a great man. He had neither light nor warmth. This is what, doubtless, prompted Sir James Mackintosh's famous exclamation, that you might scoop Gibbon's mind out of Burke's without missing it. But hence, I say, the fitness of things that chained Gibbon to his library chair, and set him as his task, to write the history of the Roman Empire, whilst leaving Burke at large to illuminate the problems of his own time.

Gibbon avowedly wrote for fame. He built his History meaning it to last. He got £6,000 for writing it. The booksellers netted £60,000 by printing it. Gibbon did not mind. He knew it would be the volumes of his History, and not the banking books of his publishers, who no doubt ran their trade risks, which would keep their place upon men's shelves. He did an honest piece of work, and he has had a noble reward. Had he attempted to know the ultimate causes of the decline and fall of the Roman Empire, he must have failed, egregiously, childishly. He abated his pretensions as a philosopher, was content to attempt some picture of the thing acted--of the great pageant of history--and succeeded.

WILLIAM COWPER

The large and weighty family of Gradgrinds may, from their various well-cushioned coigns of advantage, give forcible utterance to their opinions as to what are the really important things in this life; but the fact remains, distasteful as it may be to those of us who accomplish the disciplinary end of vexing our fathers' souls by other means than 'penning stanzas,' that the lives of poets, even of people who have passed for poets, eclipse in general and permanent interest the lives of other men. Whilst above the sod, these poets were often miserable enough. But charm hangs over their graves. The sternest pedestrian, even he who is most bent on making his inn by the precise path he has, with much study of the map, previously prescribed for himself, will yet often veer to the right or to the left, to visit the lonely churchyard where, as he hears by the way, lie the ashes of some brother of the tuneful quill. It may well be that this brother's verses are not frequently on our lips. It is not the lot of every bard to make quotations. It may sometimes happen to you, as you stand mournfully surveying the little heap, to rack your brains unavailingly for so much as a single couplet; nay, so treacherous is memory, the very title of his best-known poem may, for the moment, have slipped you. But your heart is melted all the same, and you feel it would indeed have been a churlish thing to go on your original way, unmindful of the fact that

'In yonder grave a Druid lies!'