Part 10

Be sure, then, to read no mean books. Shun the spawn of the press on the gossip of the hour. Do not read what you shall learn, without asking, in the street and the train. Dr. Johnson said, “he always went into stately shops”; and good travellers stop at the best hotels; for, though they cost more, they do not cost much more, and there is the good company and the best information. In like manner, the scholar knows that the famed books contain, first and last, the best thoughts and facts. Now and then, by rarest luck, in some foolish Grub Street is the gem we want. But in the best circles is the best information. If you should transfer the amount of your reading day by day from the newspaper to the standard authors---- But who dare speak of such a thing?

The three practical rules, then, which I have to offer, are,--1. Never read any book that is not a year old. 2. Never read any but famed books. 3. Never read any but what you like; or, in Shakspeare’s phrase

“No profit goes where is no pleasure ta’en: In brief, sir, study what you most affect.”

Montaigne says, “Books are a languid pleasure”; but I find certain books vital and spermatic, not leaving the reader what he was: he shuts the book a richer man. I would never willingly read any others than such. And I will venture, at the risk of inditing a list of old primers and grammars, to count the few books which a superficial reader must thankfully use.

Of the old Greek books, I think there are five which we cannot spare: 1. Homer, who in spite of Pope and all the learned uproar of centuries, has really the true fire, and is good for simple minds, is the true and adequate germ of Greece, and occupies that place as history, which nothing can supply. It holds through all literature, that our best history is still poetry. It is so in Hebrew, in Sanskrit, and in Greek. English history is best known through Shakspeare; how much through Merlin, Robin Hood, and the Scottish ballads!--the German, through the Nibelungenlied;--the Spanish, through the Cid. Of Homer, George Chapman’s is the heroic translation, though the most literal prose version is the best of all. 2. Herodotus, whose history contains inestimable anecdotes, which brought it with the learned into a sort of disesteem; but in these days, when it is found that what is most memorable of history is a few anecdotes, and that we need not be alarmed though we should find it not dull, it is regaining credit. 3. Æschylus, the grandest of the three tragedians, who has given us under a thin veil the first plantation of Europe. The “Prometheus” is a poem of the like dignity and scope as the Book of Job, or the Norse Edda. 4. Of Plato I hesitate to speak, lest there should be no end. You find in him that which you have already found in Homer, now ripened to thought,--the poet converted to a philosopher, with loftier strains of musical wisdom than Homer reached; as if Homer were the youth, and Plato the finished man; yet with no less security of bold and perfect song, when he cares to use it, and with some harp-strings fetched from a higher heaven. He contains the future, as he came out of the past. In Plato, you explore modern Europe in its causes and seed,--all that in thought, which the history of Europe embodies or has yet to embody. The well-informed man finds himself anticipated. Plato is up with him too. Nothing has escaped him. Every new crop in the fertile harvest of reform, every fresh suggestion of modern humanity, is there. If the student wish to see both sides, and justice done to the man of the world, pitiless exposure of pedants, and the supremacy of truth and the religious sentiment, he shall be contented also. Why should not young men be educated on this book? It would suffice for the tuition of the race,--to test their understanding, and to express their reason. Here is that which is so attractive to all men,--the literature of aristocracy shall I call it?--the picture of the best persons, sentiments, and manners, by the first master, in the best times,--portraits of Pericles, Alcibiades, Crito, Prodicus, Protagoras, Anaxagoras, and Socrates, with the lovely background of the Athenian and suburban landscape. Or who can overestimate the images with which Plato has enriched the minds of men, and which pass like bullion in the currency of all nations? Read the “Phædo,” the “Protagoras,” the “Phædrus,” the “Timæus,” the “Republic,” and the “Apology of Socrates.” 5. Plutarch cannot be spared from the smallest library; first, because he is so readable, which is much; then, that he is medicinal and invigorating. The lives of Cimon, Lycurgus, Alexander, Demosthenes, Phocion, Marcellus, and the rest, are what history has of best. But this book has taken care of itself, and the opinion of the world is expressed in the innumerable cheap editions, which make it as accessible as a newspaper. But Plutarch’s “Morals” is less known, and seldom reprinted. Yet such a reader as I am writing to can as ill spare it as the “Lives.” He will read in it the essays “On the Dæmon of Socrates,” “On Isis and Osiris,” “On Progress in Virtue,” “On Garrulity,” “On Love,” and thank anew the art of printing, and the cheerful domain of ancient thinking. Plutarch charms by the facility of his associations; so that it signifies little where you open his book, you find yourself at the Olympian tables. His memory is like the Isthmian Games, where all that was excellent in Greece was assembled, and you are stimulated and recruited by lyric verses, by philosophic sentiments, by the forms and behavior of heroes, by the worship of the gods, and by the passing of fillets, parsley and laurel wreaths, chariots, armor, sacred cups, and utensils of sacrifice. An inestimable trilogy of ancient social pictures are the three “Banquets” respectively of Plato, Xenophon, and Plutarch. Plutarch’s has the least approach to historical accuracy; but the meeting of the Seven Wise Masters is a charming portraiture of ancient manners and discourse, and is as clear as the voice of a fife, and entertaining as a French novel. Xenophon’s delineation of Athenian manners is an accessory to Plato, and supplies traits of Socrates; whilst Plato’s has merits of every kind,--being a repertory of the wisdom of the ancients on the subject of love,--a picture of a feast of wits, not less descriptive than Aristophanes,--and, lastly, containing that ironical eulogy of Socrates which is the source from which all the portraits of that philosopher current in Europe have been drawn.

Of course a certain outline should be obtained of Greek history, in which the important moments and persons can be rightly set down; but the shortest is the best, and if one lacks stomach for Mr. Grote’s voluminous annals, the old slight and popular summary of Goldsmith or of Gillies will serve. The valuable part is the age of Pericles and the next generation. And here we must read the “Clouds” of Aristophanes, and what more of that master we gain appetite for, to learn our way in the streets of Athens, and to know the tyranny of Aristophanes, requiring more genius and sometimes not less cruelty than belonged to the official commanders. Aristophanes is now very accessible, with much valuable commentary, through the labors of Mitchell and Cartwright. An excellent popular book is J. A. St. John’s “Ancient Greece”; the “Life and Letters” of Niebuhr, even more than his Lectures, furnish leading views; and Winckelmann, a Greek born out of due time, has become essential to an intimate knowledge of the Attic genius. The secret of the recent histories in German and in English is the discovery, owed first to Wolff, and later to Boeckh, that the sincere Greek history of that period must be drawn from Demosthenes, especially from the business orations, and from the comic poets.

If we come down a little by natural steps from the master to the disciples, we have, six or seven centuries later, the Platonists,--who also cannot be skipped,--Plotinus, Porphyry, Proclus, Synesius, Jamblichus. Of Jamblichus the Emperor Julian said, “that he was posterior to Plato in time, not in genius.” Of Plotinus, we have eulogies by Porphyry and Longinus, and the favor of the Emperor Gallienus,--indicating the respect he inspired among his contemporaries. If any one who had read with interest the “Isis and Osiris” of Plutarch should then read a chapter called “Providence,” by Synesius, translated into English by Thomas Taylor, he will find it one of the majestic remains of literature, and, like one walking in the noblest of temples, will conceive new gratitude to his fellow-men, and a new estimate of their nobility. The imaginative scholar will find few stimulants to his brain like these writers. He has entered the Elysian Fields; and the grand and pleasing figures of gods and dæmons and dæmoniacal men, of the “azonic” and the “aquatic gods,” dæmons with fulgid eyes, and all the rest of the Platonic rhetoric, exalted a little under the African sun, sail before his eyes. The acolyte has mounted the tripod over the cave at Delphi; his heart dances, his sight is quickened. These guides speak of the gods with such depth and with such pictorial details, as if they had been bodily present at the Olympian feasts. The reader of these books makes new acquaintance with his own mind; new regions of thought are opened. Jamblichus’s “Life of Pythagoras” works more directly on the will than the others; since Pythagoras was eminently a practical person, the founder of a school of ascetics and socialists, a planter of colonies, and nowise a man of abstract studies alone.

The respectable and sometimes excellent translations of Bohn’s Library have done for literature what railroads have done for internal intercourse. I do not hesitate to read all the books I have named, and all good books, in translations. What is really best in any book is translatable,--any real insight or broad human sentiment. Nay, I observe that, in our Bible, and other books of lofty moral tone, it seems easy and inevitable to render the rhythm and music of the original into phrases of equal melody. The Italians have a fling at translators,--_i traditori traduttori_; but I thank them. I rarely read any Latin, Greek, German, Italian, sometimes not a French book in the original, which I can procure in a good version. I like to be beholden to the great metropolitan English speech, the sea which receives tributaries from every region under heaven. I should as soon think of swimming across Charles River when I wish to go to Boston, as of reading all my books in originals, when I have them rendered for me in my mother-tongue.

For history there is great choice of ways to bring the student through early Rome. If he can read Livy, he has a good book; but one of the short English compends, some Goldsmith or Ferguson, should be used, that will place in the cycle the bright stars of Plutarch. The poet Horace is the eye of the Augustan age; Tacitus, the wisest of historians; and Martial will give him Roman manners,--and some very bad ones,--in the early days of the Empire: but Martial must be read, if read at all, in his own tongue. These will bring him to Gibbon, who will take him in charge, and convey him with abundant entertainment down--with notice of all remarkable objects on the way--through fourteen hundred years of time. He cannot spare Gibbon, with his vast reading,--with such wit and continuity of mind, that, though never profound, his book is one of the conveniences of civilization, like the new railroad from ocean to ocean,--and, I think, will be sure to send the reader to his “Memoirs of Himself,” and the “Extracts from my Journal,” and “Abstracts of my Readings,” which will spur the laziest scholar to emulation of his prodigious performance.

Now having our idler safe down as far as the fall of Constantinople in 1453, he is in very good courses; for here are trusty hands waiting for him. The cardinal facts of European history are soon learned. There is Dante’s poem, to open the Italian Republics of the Middle Age; Dante’s “Vita Nuova,” to explain Dante and Beatrice; and Boccaccio’s “Life of Dante,”--a great man to describe a greater. To help us, perhaps a volume or two of M. Sismondi’s “Italian Republics” will be as good as the entire sixteen. When we come to Michel Angelo, his Sonnets and Letters must be read, with his Life by Vasari, or, in our day, by Herman Grimm. For the Church, and the Feudal Institution, Mr. Hallam’s “Middle Ages” will furnish, if superficial, yet readable and conceivable outlines.

The “Life of the Emperor Charles V.,” by the useful Robertson, is still the key of the following age. Ximenes, Columbus, Loyola, Luther, Erasmus, Melanchthon, Francis I., Henry VIII., Elizabeth, and Henry IV. of France, are his contemporaries. It is a time of seeds and expansions, whereof our recent civilization is the fruit.

If now the relations of England to European affairs bring him to British ground, he is arrived at the very moment when modern history takes new proportions. He can look back for the legends and mythology to the “Younger Edda” and the “Heimskringla” of Snorro Sturleson, to Mallet’s “Northern Antiquities,” to Ellis’s “Metrical Romances,” to Asser’s “Life of Alfred” and Venerable Bede, and to the researches of Sharon Turner and Palgrave. Hume will serve him for an intelligent guide, and in the Elizabethan era he is at the richest period of the English mind, with the chief men of action and of thought which that nation has produced, and with a pregnant future before him. Here he has Shakspeare, Spenser, Sidney, Raleigh, Bacon, Chapman, Jonson, Ford, Beaumont and Fletcher, Herbert, Donne, Herrick; and Milton, Marvell, and Dryden, not long after.

In reading history, he is to prefer the history of individuals. He will not repent the time he gives to Bacon,--not if he read the “Advancement of Learning,” the “Essays,” the “Novum Organum,” the “History of Henry VII.,” and then all the “Letters” (especially those to the Earl of Devonshire, explaining the Essex business), and all but his “Apophthegms.”

The task is aided by the strong mutual light which these men shed on each other. Thus, the works of Ben Jonson are a sort of hoop to bind all these fine persons together, and to the land to which they belong. He has written verses to or on all his notable contemporaries; and what with so many occasional poems, and the portrait sketches in his “Discoveries,” and the gossiping record of his opinions in his conversations with Drummond of Hawthornden, he has really illustrated the England of his time, if not to the same extent, yet much in the same way, as Walter Scott has celebrated the persons and places of Scotland. Walton, Chapman, Herrick, and Sir Henry Wotton write also to the times.

Among the best books are certain _Autobiographies_: as, St. Augustine’s Confessions; Benvenuto Cellini’s Life; Montaigne’s Essays; Lord Herbert of Cherbury’s Memoirs; Memoirs of the Cardinal de Retz; Rousseau’s Confessions; Linnæus’s Diary; Gibbon’s, Hume’s, Franklin’s, Burns’s, Alfieri’s, Goethe’s, and Haydon’s Autobiographies.

Another class of books closely allied to these, and of like interest, are those which may be called _Table-Talks_: of which the best are Saadi’s Gulistan; Luther’s Table-Talk; Aubrey’s Lives; Spence’s Anecdotes; Selden’s Table-Talk; Boswell’s Life of Johnson; Eckermann’s Conversations with Goethe; Coleridge’s Table-Talk; and Hazlitt’s Life of Northcote.

There is a class whose value I should designate as _Favorites_: such as Froissart’s Chronicles; Southey’s Chronicle of the Cid; Cervantes; Sully’s Memoirs; Rabelais; Montaigne; Izaak Walton; Evelyn; Sir Thomas Browne; Aubrey; Sterne; Horace Walpole; Lord Clarendon; Doctor Johnson; Burke, shedding floods of light on his times; Lamb; Landor; and De Quincey;--a list, of course, that may easily be swelled, as dependent on individual caprice. Many men are as tender and irritable as lovers in reference to these predilections. Indeed, a man’s library is a sort of harem, and I observe that tender readers have a great pudency in showing their books to a stranger.

The annals of bibliography afford many examples of the delirious extent to which book-fancying can go, when the legitimate delight in a book is transferred to a rare edition or to a manuscript. This mania reached its height about the beginning of the present century. For an autograph of Shakspeare one hundred and fifty-five guineas were given. In May, 1812, the library of the Duke of Roxburgh was sold. The sale lasted forty-two days,--we abridge the story from Dibdin,--and among the many curiosities was a copy of Boccaccio published by Valdarfer, at Venice, in 1471; the only perfect copy of this edition. Among the distinguished company which attended the sale were the Duke of Devonshire, Earl Spencer, and the Duke of Marlborough, then Marquis of Blandford. The bid stood at five hundred guineas. “A thousand guineas,” said Earl Spencer: “And ten,” added the Marquis. You might hear a pin drop. All eyes were bent on the bidders. Now they talked apart, now ate a biscuit, now made a bet, but without the least thought of yielding one to the other. But to pass over some details,--the contest proceeded until the Marquis said, “Two thousand pounds.” The Earl Spencer bethought him like a prudent general of useless bloodshed and waste of powder, and had paused a quarter of a minute, when Lord Althorp with long steps came to his side, as if to bring his father a fresh lance to renew the fight. Father and son whispered together, and Earl Spencer exclaimed, “Two thousand two hundred and fifty pounds!” An electric shock went through the assembly. “And ten,” quietly added the Marquis. There ended the strife. Ere Evans let the hammer fall, he paused; the ivory instrument swept the air; the spectators stood dumb, when the hammer fell. The stroke of its fall sounded on the farthest shores of Italy. The tap of that hammer was heard in the libraries of Rome, Milan, and Venice. Boccaccio stirred in his sleep of five hundred years, and M. Van Praet groped in vain among the royal alcoves in Paris, to detect a copy of the famed Valdarfer Boccaccio.

Another class I distinguish by the term _Vocabularies_. Burton’s “Anatomy of Melancholy” is a book of great learning. To read it is like reading in a dictionary. ’Tis an inventory to remind us how many classes and species of facts exist, and, in observing into what strange and multiplex by-ways learning has strayed, to infer our opulence. Neither is a dictionary a bad book to read. There is no cant in Germans, it, no excess of explanation, and it is full of suggestion,--the raw material of possible poems and histories. Nothing is wanting but a little shuffling, sorting, ligature, and cartilage. Out of a hundred examples, Cornelius Agrippa “On the Vanity of Arts and Sciences” is a specimen of that scribatiousness which grew to be the habit of the gluttonous readers of his time. Like the modern they read a literature while other mortals read a few books. They read voraciously, and must disburden themselves; so they take any general topic, as, Melancholy, or Praise of Science, or Praise of Folly, and write and quote without method or end. Now and then out of that affluence of their learning comes a fine sentence from Theophrastus, or Seneca, or Boëthius, but no high method, no inspiring efflux. But one cannot afford to read for a few sentences; they are good only as strings of suggestive words.

There is another class, more needful to the present age, because the currents of custom run now in another direction, and leave us dry on this side;--I mean the _Imaginative_. A right metaphysics should do justice to the co-ordinate powers of Imagination, Insight, Understanding, and Will. Poetry, with its aids of Mythology and Romance, must be well allowed for an imaginative creature. Men are ever lapsing into a beggarly habit, wherein everything that is not ciphering, that is, which does not serve the tyrannical animal, is hustled out of sight. Our orators and writers are of the same poverty, and, in this rag-fair, neither the Imagination, the great awakening power, nor the Morals, creative of genius and of men, are addressed. But though orator and poet be of this hunger party, the capacities remain. We must have symbols. The child asks you for a story, and is thankful for the poorest. It is not poor to him, but radiant with meaning. The man asks for a novel,--that is, asks leave for a few hours to be a poet, and to paint things as they ought to be. The youth asks for a poem. The very dunces wish to go to the theatre. What private heavens can we not open, by yielding to all the suggestion of rich music! We must have idolatries, mythologies,--some swing and verge for the creative power lying coiled and cramped here, driving ardent natures to insanity and crime if it do not find vent. Without the great arts which speak to the sense of beauty, a man seems to me a poor, naked, shivering creature. These are his becoming draperies, which warm and adorn him. Whilst the prudential and economical tone of society starves the imagination, affronted Nature gets such indemnity as she may. The novel is that allowance and frolic the imagination finds. Everything else pins it down, and men flee for redress to Byron, Scott, Disraeli, Dumas, Sand, Balzac, Dickens, Thackeray, and Reade. Their education is neglected; but the circulating-library and the theatre, as well as the trout-fishing, the Notch Mountains, the Adirondack country, the tour to Mont Blanc, to the White Hills, and the Ghauts, make such amends as they can.

The imagination infuses a certain volatility and intoxication. It has a flute which sets the atoms of our frame in a dance, like planets; and, once so liberated, the whole man reeling drunk to the music, they never quite subside to their old stony state. But what is the imagination? Only an arm or weapon of the interior energy; only the precursor of the reason. And books that treat the old pedantries of the world, our times, places, professions, customs, opinions, histories, with a certain freedom, and distribute things, not after the usages of America and Europe, but after the laws of right reason, and with as daring a freedom as we use in dreams, put us on our feet again, enable us to form an original judgment of our duties, and suggest new thoughts for to-morrow.

“Lucrezia Floriani,” “Le Péché de M. Antoine,” “Jeanne,” and “Consuelo,” of George Sand, are great steps from the novel of one termination, which we all read twenty years ago. Yet how far off from life and manners and motives the novel still is! Life lies about us dumb; the day, as we know it, has not yet found a tongue. These stories are to the plots of real life what the figures in “La Belle Assemblée,” which represent the fashion of the month, are to portraits. But the novel will find the way to our interiors one day, and will not always be the novel of costume merely. I do not think it inoperative now. So much novel-reading cannot leave the young men and maidens untouched; and doubtless it gives some ideal dignity to the day. The young study noble behavior; and as the player in “Consuelo” insists that he and his colleagues on the boards have taught princes the fine etiquette and strokes of grace and dignity which they practise with so much effect in their villas and among their dependents, so I often see traces of the Scotch or the French novel in the courtesy and brilliancy of young midshipmen, collegians, and clerks. Indeed, when one observes how ill and ugly people make their loves and quarrels, ’tis pity they should not read novels a little more, to import the fine generosities, and the clear, firm conduct, which are as becoming in the unions and separations which love effects under shingle roofs as in palaces and among illustrious personages.