see nature!" and ever after, when I saw the sun-set stream upon the objects facing it, conceived I had made a discovery, or thanked Mr. Wordsworth for having made one for me! We went over to All-Foxden again the day following, and Wordsworth read us the story of Peter Bell in the open air; and the comment upon it by his face and voice was very different from that of some later critics! Whatever might be thought of the poem, "his face was as a book where men might read strange matters," and he announced the fate of his hero in prophetic tones. There is a chaunt in the recitation both of Coleridge and Wordsworth, which acts as a spell upon the hearer, and disarms the judgment. Perhaps they have deceived themselves by making habitual use of this ambiguous accompaniment. Coleridge's manner is more full, animated, and varied; Wordsworth's more equable, sustained, and internal. The one might be termed more dramatic, the other more lyrical. Coleridge has told me that he himself liked to compose in walking over uneven ground, or breaking through the straggling branches of a copse wood; whereas Wordsworth always wrote (if he could) walking up and down a strait gravel-walk, or in some spot where the continuity of his verse met with no collateral interruption. Returning that same evening, I got into a metaphysical argument with Wordsworth, while Coleridge was explaining the different notes of the nightingale to his sister, in which we neither of us succeeded in making ourselves perfectly clear and intelligible. Thus I passed three weeks at Nether Stowey and in the neighbourhood, generally devoting the afternoons to a delightful chat in an arbour made of bark by the poet's friend Tom Poole, sitting under two fine elm-trees, and listening to the bees humming round us, while we quaffed our flip. It was agreed, among other things, that we should make a jaunt down the Bristol-Channel, as far as Linton. We set off together on foot, Coleridge, John Chester, and I. This Chester was a native of Nether Stowey, one of those who were attracted to Coleridge's discourse as flies are to honey, or bees in swarming-time to the sound of a brass pan. He "followed in the chace, like a dog who hunts, not like one that made up the cry." He had on a brown cloth coat, boots, and corduroy breeches, was low in stature, bow-legged, had a drag in his walk like a drover, which he assisted by a hazel switch, and kept on a sort of trot by the side of Coleridge, like a running footman by a state coach, that he might not lose a syllable or sound, that fell from Coleridge's lips. He told me his private opinion, that Coleridge was a wonderful man. He scarcely opened his lips, much less offered an opinion the whole way: yet of the three, had I to chuse during that journey, I would be John Chester. He afterwards followed Coleridge into Germany, where the Kantean philosophers were puzzled how to bring him under any of their categories. When he sat down at table with his idol, John's felicity was complete; Sir Walter Scott's or Mr. Blackwood's, when they sat down at the same table with the King, was not more so. We passed Dunster on our right, a small town between the brow of a hill and the sea. I remember eyeing it wistfully as it lay below us: contrasted with the woody scene around, it looked as clear, as pure, as embrowned and ideal as any landscape I have seen since, of Gaspar Poussin's or Domenichino's. We had a long day's march—(our feet kept time to the echoes of Coleridge's tongue)—through Minehead and by the Blue Anchor, and on to Linton, which we did not reach till near midnight, and where we had some difficulty in making a lodgment. We however knocked the people of the house up at last, and we were repaid for our apprehensions and fatigue by some excellent rashers of fried bacon and eggs. The view in coming along had been splendid. We walked for miles and miles on dark brown heaths overlooking the channel, with the Welsh hills beyond, and at times descended into little sheltered valleys close by the sea-side, with a smuggler's face scowling by us, and then had to ascend conical hills with a path winding up through a coppice to a barren top, like a monk's shaven crown, from one of which I pointed out to Coleridge's notice the bare masts of a vessel on the very edge of the horizon and within the red-orbed disk of the setting sun, like his own spectre-ship in the Ancient Mariner. At Linton the character of the sea-coast becomes more marked and rugged. There is a place called the Valley of Rocks (I suspect this was only the poetical name for it) bedded among precipices overhanging the sea, with rocky caverns beneath, into which the waves dash, and where the sea-gull for ever wheels its screaming flight. On the tops of these are huge stones thrown transverse, as if an earthquake had tossed them there, and behind these is a fretwork of perpendicular rocks, something like the Giant's Causeway. A thunderstorm came on while we were at the inn, and Coleridge was running out bareheaded to enjoy the commotion of the elements in the Valley of Rocks, but as if in spite, the clouds only muttered a few angry sounds, and let fall a few refreshing drops. Coleridge told me that he and Wordsworth were to have made this place the scene of a prose-tale, which was to have been in the manner of, but far superior to, the Death of Abel, but they had relinquished the design. In the morning of the second day, we breakfasted luxuriously in an old-fashioned parlour, on tea, toast, eggs, and honey, in the very sight of the bee-hives from which it had been taken, and a garden full of thyme and wild flowers that had produced it. On this occasion Coleridge spoke of Virgil's Georgics, but not well. I do not think he had much feeling for the classical or elegant. It was in this room that we found a little worn-out copy of the Seasons, lying in a window-seat, on which Coleridge exclaimed, "That is true fame!" He said Thomson was a great poet, rather than a good one; his style was as meretricious as his thoughts were natural. He spoke of Cowper as the best modern poet. He said the Lyrical Ballads were an experiment about to be tried by him and Wordsworth, to see how far the public taste would endure poetry written in a more natural and simple style than had hitherto been attempted; totally discarding the artifices of poetical diction, and making use only of such words as had probably been common in the most ordinary language since the days of Henry II. Some comparison was introduced between Shakspeare and Milton. He said "he hardly knew which to prefer. Shakspeare appeared to him a mere stripling in the art; he was as tall and as strong, with infinitely more activity than Milton, but he never appeared to have come to man's estate; or if he had, he would not have been a man, but a monster." He spoke with contempt of Gray, and with intolerance of Pope. He did not like the versification of the latter. He observed that "the ears of these couplet-writers might be charged with having short memories, that could not retain the harmony of whole passages." He thought little of Junius as a writer; he had a dislike of Dr. Johnson; and a much higher opinion of Burke as an orator and politician, than of Fox or Pitt. He however thought him very inferior in richness of style and imagery to some of our elder prose-writers, particularly Jeremy Taylor. He liked Richardson, but not Fielding; nor could I get him to enter into the merits of Caleb Williams.[145] In short, he was profound and discriminating with respect to those authors whom he liked, and where he gave his judgment fair play; capricious, perverse, and prejudiced in his antipathies and distastes. We loitered on the "ribbed sea-sands," in such talk as this, a whole morning, and I recollect met with a curious sea-weed, of which John Chester told us the country name! A fisherman gave Coleridge an account of a boy that had been drowned the day before, and that they had tried to save him at the risk of their own lives. He said "he did not know how it was that they ventured, but, Sir, we have a nature towards one another." This expression, Coleridge remarked to me, was a fine illustration of that theory of disinterestedness which I (in common with Butler) had adopted. I broached to him an argument of mine to prove that likeness was not mere association of ideas. I said that the mark in the sand put one in mind of a man's foot, not because it was part of a former impression of a man's foot (for it was quite new) but because it was like the shape of a man's foot. He assented to the justness of this distinction (which I have explained at length elsewhere, for the benefit of the curious) and John Chester listened; not from any interest in the subject, but because he was astonished that I should be able to suggest any thing to Coleridge that he did not already know. We returned on the third morning, and Coleridge remarked the silent cottage-smoke curling up the valleys where, a few evenings before, we had seen the lights gleaming through the dark.

In a day or two after we arrived at Stowey we set out, I on my return home, and he for Germany. It was a Sunday morning, and he was to preach that day for Dr. Toulmin of Taunton. I asked him if he had prepared any thing for the occasion? He said he had not even thought of the text, but should as soon as we parted. I did not go to hear him,—this was a fault,—but we met in the evening at Bridgewater. The next day we had a long day's walk to Bristol, and sat down, I recollect, by a well-side on the road, to cool ourselves and satisfy our thirst, when Coleridge repeated to me some descriptive lines from his tragedy of Remorse; which I must say became his mouth and that occasion better than they, some years after, did Mr. Elliston's and the Drury-lane boards,—

"Oh memory! shield me from the world's poor strife, And give those scenes thine everlasting life."

I saw no more of him for a year or two, during which period he had been wandering in the Hartz Forest in Germany; and his return was cometary, meteorous, unlike his setting out. It was not till some time after that I knew his friends Lamb and Southey. The last always appears to me (as I first saw him) with a common-place book under his arm, and the first with a bon-mot in his mouth. It was at Godwin's that I met him with Holcroft and Coleridge, where they were disputing fiercely which was the best—Man as he was, or man as he is to be. "Give me," says Lamb, "man as he is not to be." This saying was the beginning of a friendship between us, which I believe still continues.—Enough of this for the present.

"But there is matter for another rhyme, And I to this may add a second tale."



XVIII

ON THE CONVERSATION OF AUTHORS

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

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

Those days are over! An event, the name of which I wish never to mention, broke up our party, like a bombshell thrown into the room: and now we seldom meet——

"Like angels' visits, short and far between."

There is no longer the same set of persons, nor of associations. L—— does not live where he did. By shifting his abode, his notions seem less fixed. He does not wear his old snuff-coloured coat and breeches. It looks like an alteration in his style. An author and a wit should have a separate costume, a particular cloth: he should present something positive and singular to the mind, like Mr. Douce of the Museum. Our faith in the religion of letters will not bear to be taken to pieces, and put together again by caprice or accident. L. H—— goes there sometimes. He has a fine vinous spirit about him, and tropical blood in his veins: but he is better at his own table. He has a great flow of pleasantry and delightful animal spirits: but his hits do not tell like L——'s; you cannot repeat them the next day. He requires not only to be appreciated, but to have a select circle of admirers and devotees, to feel himself quite at home. He sits at the head of a party with great gaiety and grace; has an elegant manner and turn of features; is never at a loss—aliquando sufflaminandus erat—has continual sportive sallies of wit or fancy; tells a story capitally; mimics an actor, or an acquaintance to admiration; laughs with great glee and good-humour at his own or other people's jokes; understands the point of an equivoque, or an observation immediately; has a taste and knowledge of books, of music, of medals; manages an argument adroitly; is genteel and gallant, and has a set of bye-phrases and quaint allusions always at hand to produce a laugh:—if he has a fault, it is that he does not listen so well as he speaks, is impatient of interruption, and is fond of being looked up to, without considering by whom. I believe, however, he has pretty well seen the folly of this. Neither is his ready display of personal accomplishment and variety of resources an advantage to his writings. They sometimes present a desultory and slipshod appearance, owing to this very circumstance. The same things that tell, perhaps, best, to a private circle round the fireside, are not always intelligible to the public, nor does he take pains to make them so. He is too confident and secure of his audience. That which may be entertaining enough with the assistance of a certain liveliness of manner, may read very flat on paper, because it is abstracted from all the circumstances that had set it off to advantage. A writer should recollect that he has only to trust to the immediate impression of words, like a musician who sings without the accompaniment of an instrument. There is nothing to help out, or slubber over, the defects of the voice in the one case, nor of the style in the other. The reader may, if he pleases, get a very good idea of L. H——'s conversation from a very agreeable paper he has lately published, called the Indicator, than which nothing can be more happily conceived or executed.

The art of conversation is the art of hearing as well as of being heard. Authors in general are not good listeners. Some of the best talkers are, on this account, the worst company; and some who are very indifferent, but very great talkers, are as bad. It is sometimes wonderful to see how a person, who has been entertaining or tiring a company by the hour together, drops his countenance as if he had been shot, or had been seized with a sudden lock-jaw, the moment anyone interposes a single observation. The best converser I know is, however, the best listener. I mean Mr. Northcote, the painter. Painters by their profession are not bound to shine in conversation, and they shine the more. He lends his ear to an observation, as if you had brought him a piece of news, and enters into it with as much avidity and earnestness, as if it interested himself personally. If he repeats an old remark or story, it is with the same freshness and point as for the first time. It always arises out of the occasion, and has the stamp of originality. There is no parroting of himself. His look is a continual, ever-varying history-piece of what passes in his mind. His face is as a book. There need no marks of interjection or interrogation to what he says. His manner is quite picturesque. There is an excess of character and naivete that never tires. His thoughts bubble up and sparkle, like beads on old wine. The fund of anecdote, the collection of curious particulars, is enough to set up any common retailer of jests, that dines out every day; but these are not strung together like a row of galley-slaves, but are always introduced to illustrate some argument or bring out some fine distinction of character. The mixture of spleen adds to the sharpness of the point, like poisoned arrows. Mr. Northcote enlarges with enthusiasm on the old painters, and tells good things of the new. The only thing he ever vexed me in was his liking the Catalogue Raisonnee. I had almost as soon hear him talk of Titian's pictures (which he does with tears in his eyes, and looking just like them) as see the originals, and I had rather hear him talk of Sir Joshua's than see them. He is the last of that school who knew Goldsmith and Johnson. How finely he describes Pope! His elegance of mind, his figure, his character were not unlike his own. He does not resemble a modern Englishman, but puts one in mind of a Roman Cardinal or Spanish Inquisitor. I never ate or drank with Mr. Northcote; but I have lived on his conversation with undiminished relish ever since I can remember,—and when I leave it, I come out into the street with feelings lighter and more etherial than I have at any other time.—One of his tete-a-tetes would at any time make an Essay; but he cannot write himself, because he loses himself in the connecting passages, is fearful of the effect, and wants the habit of bringing his ideas into one focus or point of view. A lens is necessary to collect the diverging rays, the refracted and broken angular lights of conversation on paper. Contradiction is half the battle in talking—the being startled by what others say, and having to answer on the spot. You have to defend yourself, paragraph by paragraph, parenthesis within parenthesis. Perhaps it might be supposed that a person who excels in conversation and cannot write, would succeed better in dialogue. But the stimulus, the immediate irritation would be wanting; and the work would read flatter than ever, from not having the very thing it pretended to have.

Lively sallies and connected discourse are very different things. There are many persons of that impatient and restless turn of mind, that they cannot wait a moment for a conclusion, or follow up the thread of any argument. In the hurry of conversation their ideas are somehow huddled into sense; but in the intervals of thought, leave a great gap between. Montesquieu said, he often lost an idea before he could find words for it: yet he dictated, by way of saving time, to an amanuensis. This last is, in my opinion, a vile method, and a solecism in authorship. Horne Tooke, among other paradoxes, used to maintain, that no one could write a good style who was not in the habit of talking and hearing the sound of his own voice. He might as well have said that no one could relish a good style without reading it aloud, as we find common people do to assist their apprehension. But there is a method of trying periods on the ear, or weighing them with the scales of the breath, without any articulate sound. Authors, as they write, may be said to "hear a sound so fine, there's nothing lives 'twixt it and silence." Even musicians generally compose in their heads. I agree that no style is good that is not fit to be spoken or read aloud with effect. This holds true not only of emphasis and cadence, but also with regard to natural idiom and colloquial freedom. Sterne's was in this respect the best style that ever was written. You fancy that you hear the people talking. For a contrary reason, no college-man writes a good style, or understands it when written. Fine writing is with him all verbiage and monotony—a translation into classical centos or hexameter lines.

That which I have just mentioned is among many instances I could give of ingenious absurdities advanced by Mr. Tooke in the heat and pride of controversy. A person who knew him well, and greatly admired his talents, said of him that he never (to his recollection) heard him defend an opinion which he thought right, or in which he believed him to be himself sincere. He indeed provoked his antagonists into the toils by the very extravagance of his assertions, and the teasing sophistry by which he rendered them plausible. His temper was prompter to his skill. He had the manners of a man of the world, with great scholastic resources. He flung everyone else off his guard, and was himself immovable. I never knew anyone who did not admit his superiority in this kind of warfare. He put a full stop to one of C——'s long-winded prefatory apologies for his youth and inexperience, by saying abruptly, "Speak up, young man!" and, at another time, silenced a learned professor, by desiring an explanation of a word which the other frequently used, and which, he said, he had been many years trying to get at the meaning of,—the copulative Is! He was the best intellectual fencer of his day. He made strange havoc of Fuseli's fantastic hieroglyphics, violent humours, and oddity of dialect.—Curran, who was sometimes of the same party, was lively and animated in convivial conversation, but dull in argument; nay, averse to anything like reasoning or serious observation, and had the worst taste I ever knew. His favourite critical topics were to abuse Milton's Paradise Lost, and Romeo and Juliet. Indeed, he confessed a want of sufficient acquaintance with books when he found himself in literary society in London. He and Sheridan once dined at John Kemble's with Mrs. Inchbald and Mary Wolstonecraft, when the discourse almost wholly turned on Love, "from noon to dewy eve, a summer's day!" What a subject! What speakers, and what hearers! What would I not give to have been there, had I not learned it all from the bright eyes of Amaryllis, and may one day make a Table-talk of it!—Peter Pindar was rich in anecdote and grotesque humour, and profound in technical knowledge both of music, poetry, and painting, but he was gross and overbearing. Wordsworth sometimes talks like a man inspired on subjects of poetry (his own out of the question)—Coleridge well on every subject, and G—dwin on none. To finish this subject—Mrs. M——'s conversation is as fine-cut as her features, and I like to sit in the room with that sort of coronet face. What she said leaves a flavour, like fine green tea. H—t's is like champagne, and N——'s like anchovy sandwiches. H—yd—n's is like a game at trap-ball: L——'s like snap-dragon: and my own (if I do not mistake the matter) is not very much unlike a game at nine-pins!... One source of the conversation of authors, is the character of other authors, and on that they are rich indeed. What things they say! What stories they tell of one another, more particularly of their friends! If I durst only give some of these confidential communications!... The reader may perhaps think the foregoing a specimen of them:—but indeed he is mistaken.

I do not know of any greater impertinence, than for an obscure individual to set about pumping a character of celebrity. "Bring him to me," said a Doctor Tronchin, speaking of Rousseau, "that I may see whether he has anything in him." Before you can take measure of the capacity of others, you ought to be sure that they have not taken measure of yours. They may think you a spy on them, and may not like their company. If you really want to know whether another person can talk well, begin by saying a good thing yourself, and you will have a right to look for a rejoinder. "The best tennis-players," says Sir Fopling Flutter, "make the best matches."

————————For wit is like a rest Held up at tennis, which men do the best With the best players.

We hear it often said of a great author, or a great actress, that they are very stupid people in private. But he was a fool that said so. Tell me your company, and I'll tell you your manners. In conversation, as in other things, the action and reaction should bear a certain proportion to each other.—Authors may, in some sense, be looked upon as foreigners, who are not naturalised even in their native soil. L—— once came down into the country to see us. He was "like the most capricious poet Ovid among the Goths." The country people thought him an oddity, and did not understand his jokes. It would be strange if they had; for he did not make any, while he staid. But when he crossed the country to Oxford, then he spoke a little. He and the old colleges were hail-fellow well met; and in the quadrangles, he "walked gowned."

There is a character of a gentleman; so there is a character of a scholar, which is no less easily recognised. The one has an air of books about him, as the other has of good-breeding. The one wears his thoughts as the other does his clothes, gracefully; and even if they are a little old-fashioned, they are not ridiculous: they have had their day. The gentleman shows, by his manner, that he has been used to respect from others: the scholar that he lays claim to self-respect and to a certain independence of opinion. The one has been accustomed to the best company; the other has passed his time in cultivating an intimacy with the best authors. There is nothing forward or vulgar in the behaviour of the one; nothing shrewd or petulant in the observations of the other, as if he should astonish the bye-standers, or was astonished himself at his own discoveries. Good taste and good sense, like common politeness, are, or are supposed to be, matters of course. One is distinguished by an appearance of marked attention to every one present; the other manifests an habitual air of abstraction and absence of mind. The one is not an upstart with all the self-important airs of the founder of his own fortune; nor the other a self-taught man, with the repulsive self-sufficiency which arises from an ignorance of what hundreds have known before him. We must excuse perhaps a little conscious family-pride in the one, and a little harmless pedantry in the other.—As there is a class of the first character which sinks into the mere gentleman, that is, which has nothing but this sense of respectability and propriety to support it—so the character of a scholar not unfrequently dwindles down into the shadow of a shade, till nothing is left of it but the mere book-worm. There is often something amiable as well as enviable in this last character. I know one such instance, at least. The person I mean has an admiration for learning, if he is only dazzled by its light. He lives among old authors, if he does not enter much into their spirit. He handles the covers, and turns over the page, and is familiar with the names and dates. He is busy and self-involved. He hangs like a film and cobweb upon letters, or is like the dust upon the outside of knowledge, which should not be rudely brushed aside. He follows learning as its shadow; but as such, he is respectable. He browzes on the husk and leaves of books, as the young fawn browzes on the bark and leaves of trees. Such a one lives all his life in a dream of learning, and has never once had his sleep broken by a real sense of things. He believes implicitly in genius, truth, virtue, liberty, because he finds the names of these things in books. He thinks that love and friendship are the finest things imaginable, both in practice and theory. The legend of good women is to him no fiction. When he steals from the twilight of his cell, the scene breaks upon him like an illuminated missal, and all the people he sees are but so many figures in a camera obscura. He reads the world, like a favourite volume, only to find beauties in it, or like an edition of some old work which he is preparing for the press, only to make emendations in it, and correct the errors that have inadvertently slipt in. He and his dog Tray are much the same honest, simple-hearted, faithful, affectionate creatures—if Tray could but read! His mind cannot take the impression of vice: but the gentleness of his nature turns gall to milk. He would not hurt a fly. He draws the picture of mankind from the guileless simplicity of his own heart: and when he dies, his spirit will take its smiling leave, without having ever had an ill thought of others, or the consciousness of one in itself!



XIX

OF PERSONS ONE WOULD WISH TO HAVE SEEN

"Come like shadows—so depart."

B—— it was, I think, who suggested this subject, as well as the defence of Guy Faux, which I urged him to execute. As, however, he would undertake neither, I suppose I must do both—a task for which he would have been much fitter, no less from the temerity than the felicity of his pen—

"Never so sure our rapture to create As when it touch'd the brink of all we hate."

Compared with him, I shall, I fear, make but a common-place piece of business of it; but I should be loth the idea was entirely lost, and besides I may avail myself of some hints of his in the progress of it. I am sometimes, I suspect, a better reporter of the ideas of other people than expounder of my own. I pursue the one too far into paradox or mysticism; the others I am not bound to follow farther than I like, or than seems fair and reasonable.

On the question being started, A—— said, "I suppose the two first persons you would choose to see would be the two greatest names in English literature, Sir Isaac Newton and Mr. Locke?" In this A——, as usual, reckoned without his host. Every one burst out a laughing at the expression of B——'s face, in which impatience was restrained by courtesy. "Yes, the greatest names," he stammered out hastily, "but they were not persons—not persons."—"Not persons?" said A——, looking wise and foolish at the same time, afraid his triumph might be premature. "That is," rejoined B——, "not characters, you know. By Mr. Locke and Sir Isaac Newton, you mean the Essay on the Human Understanding, and the Principia, which we have to this day. Beyond their contents there is nothing personally interesting in the men. But what we want to see any one bodily for, is when there is something peculiar, striking in the individuals, more than we can learn from their writings, and yet are curious to know. I dare say Locke and Newton were very like Kneller's portraits of them. But who could paint Shakspeare?"—"Ay," retorted A——, "there it is; then I suppose you would prefer seeing him and Milton instead?"—"No," said B——, "neither. I have seen so much of Shakspeare on the stage and on book-stalls, in frontispieces and on mantlepieces, that I am quite tired of the everlasting repetition: and as to Milton's face, the impressions that have come down to us of it I do not like; it is too starched and puritanical; and I should be afraid of losing some of the manna of his poetry in the leaven of his countenance and the precisian's band and gown."—"I shall guess no more," said A——. "Who is it, then, you would like to see 'in his habit as he lived,' if you had your choice of the whole range of English literature?" B—— then named Sir Thomas Brown and Fulke Greville, the friend of Sir Philip Sidney, as the two worthies whom he should feel the greatest pleasure to encounter on the floor of his apartment in their night-gown and slippers, and to exchange friendly greeting with them. At this A—— laughed outright, and conceived B—— was jesting with him; but as no one followed his example, he thought there might be something in it, and waited for an explanation in a state of whimsical suspense. B—— then (as well as I can remember a conversation that passed twenty years ago;—how time slips!) went on as follows. "The reason why I pitch upon these two authors is, that their writings are riddles, and they themselves the most mysterious of personages. They resemble the soothsayers of old, who dealt in dark hints and doubtful oracles; and I should like to ask them the meaning of what no mortal but themselves, I should suppose, can fathom. There is Dr. Johnson, I have no curiosity, no strange uncertainty about him: he and Boswell together have pretty well let me into the secret of what passed through his mind. He and other writers like him are sufficiently explicit: my friends, whose repose I should be tempted to disturb, (were it in my power) are implicit, inextricable, inscrutable.

"And call up him who left half-told The story of Cambuscan bold."

"When I look at that obscure but gorgeous prose-composition (the Urn-burial) I seem to myself to look into a deep abyss, at the bottom of which are hid pearls and rich treasure; or it is like a stately labyrinth of doubt and withering speculation, and I would invoke the spirit of the author to lead me through it. Besides, who would not be curious to see the lineaments of a man who, having himself been twice married, wished that mankind were propagated like trees! As to Fulke Greville, he is like nothing but one of his own 'Prologues spoken by the ghost of an old king of Ormus,' a truly formidable and inviting personage: his style is apocalyptical, cabalistical, a knot worthy of such an apparition to untie; and for the unravelling a passage or two, I would stand the brunt of an encounter with so portentous a commentator!"—"I am afraid in that case," said A——, "that if the mystery were once cleared up, the merit might be lost;"—and turning to me, whispered a friendly apprehension, that while B—— continued to admire these old crabbed authors, he would never become a popular writer. Dr. Donne was mentioned as a writer of the same period, with a very interesting countenance, whose history was singular, and whose meaning was often quite as uncomeatable, without a personal citation from the dead, as that of any of his contemporaries. The volume was produced; and while some one was expatiating on the exquisite simplicity and beauty of the portrait prefixed to the old edition, A—— got hold of the poetry, and exclaiming, "What have we here?" read the following:—

"Here lies a She-Sun and a He-Moon there, She gives the best light to his sphere, Or each is both and all, and so They unto one another nothing owe."

There was no resisting this, till B——, seizing the volume, turned to the beautiful "Lines to his Mistress," dissuading her from accompanying him abroad, and read them with suffused features and a faltering tongue.

"By our first strange and fatal interview, By all desires which thereof did ensue, By our long starving hopes, by that remorse Which my words' masculine persuasive force Begot in thee, and by the memory Of hurts, which spies and rivals threaten'd me, I calmly beg. But by thy father's wrath, By all pains which want and divorcement hath, I conjure thee; and all the oaths which I And thou have sworn to seal joint constancy Here I unswear, and overswear them thus. Thou shalt not love by ways so dangerous. Temper, oh fair Love! love's impetuous rage, Be my true mistress still, not my feign'd Page; I'll go, and, by thy kind leave, leave behind Thee! only worthy to nurse it in my mind. Thirst to come back; oh, if thou die before. My soul from other lands to thee shall soar. Thy (else Almighty) beauty cannot move Rage from the seas, nor thy love teach them love, Nor tame wild Boreas' harshness; thou hast read How roughly he in pieces shivered Fair Orithea, whom he swore he lov'd. Fall ill or good, 'tis madness to have prov'd Dangers unurg'd: Feed on this flattery, That absent lovers one with th' other be. Dissemble nothing, not a boy; nor change Thy body's habit, nor mind; be not strange To thyself only. All will spy in thy face A blushing, womanly, discovering grace. Richly cloth'd apes are called apes, and as soon Eclips'd as bright we call the moon the moon. Men of France, changeable cameleons. Spittles of diseases, shops of fashions, Love's fuellers, and the rightest company Of players, which upon the world's stage be, Will quickly know thee.... O stay here! for thee England is only a worthy gallery, To walk in expectation; till from thence Our greatest King call thee to his presence. When I am gone, dream me some happiness, Nor let thy looks our long hid love confess, Nor praise, nor dispraise me; nor bless, nor curse Openly love's force, nor in bed fright thy nurse With midnight startings, crying out, Oh, oh, Nurse, oh, my love is slain, I saw him go O'er the white Alps alone; I saw him, I, Assail'd, fight, taken, stabb'd, bleed, fall, and die, Augur me better chance, except dread Jove Think it enough for me to have had thy love."

Some one then inquired of B—— if we could not see from the window the Temple-walk in which Chaucer used to take his exercise; and on his name being put to the vote, I was pleased to find that there was a general sensation in his favour in all but A——, who said something about the ruggedness of the metre, and even objected to the quaintness of the orthography. I was vexed at this superficial gloss, pertinaciously reducing every thing to its own trite level, and asked "if he did not think it would be worth while to scan the eye that had first greeted the Muse in that dim twilight and early dawn of English literature; to see the head, round which the visions of fancy must have played like gleams of inspiration or a sudden glory; to watch those lips that "lisped in numbers, for the numbers came"—as by a miracle, or as if the dumb should speak? Nor was it alone that he had been the first to tune his native tongue (however imperfectly to modern ears); but he was himself a noble, manly character, standing before his age and striving to advance it; a pleasant humourist withal, who has not only handed down to us the living manners of his time, but had, no doubt, store of curious and quaint devices, and would make as hearty a companion as Mine Host of Tabard. His interview with Petrarch is fraught with interest. Yet I would rather have seen Chaucer in company with the author of the Decameron, and have heard them exchange their best stories together,—the Squire's Tale against the Story of the Falcon, the Wife of Bath's Prologue against the Adventures of Friar Albert. How fine to see the high mysterious brow which learning then wore, relieved by the gay, familiar tone of men of the world, and by the courtesies of genius. Surely, the thoughts and feelings which passed through the minds of these great revivers of learning, these Cadmuses who sowed the teeth of letters, must have stamped an expression on their features, as different from the moderns as their books, and well worth the perusal. Dante," I continued, "is as interesting a person as his own Ugolino, one whose lineaments curiosity would as eagerly devour in order to penetrate his spirit, and the only one of the Italian poets I should care much to see. There is a fine portrait of Ariosto by no less a hand than Titian's; light, Moorish, spirited, but not answering our idea. The same artist's large colossal profile of Peter Aretine is the only likeness of the kind that has the effect of conversing with 'the mighty dead,' and this is truly spectral, ghastly, necromantic." B—— put it to me if I should like to see Spenser as well as Chaucer; and I answered without hesitation, "No; for that his beauties were ideal, visionary, not palpable or personal, and therefore connected with less curiosity about the man. His poetry was the essence of romance, a very halo round the bright orb of fancy; and the bringing in the individual might dissolve the charm. No tones of voice could come up to the mellifluous cadence of his verse; no form but of a winged angel could vie with the airy shapes he has described. He was (to our apprehensions) rather a "creature of the element, that lived in the rainbow and played in the plighted clouds," than an ordinary mortal. Or if he did appear, I should wish it to be as a mere vision, like one of his own pageants, and that he should pass by unquestioned like a dream or sound—

——"That was Arion crown'd: So went he playing on the wat'ry plain!"

Captain C. muttered something about Columbus, and M. C. hinted at the Wandering Jew; but the last was set aside as spurious, and the first made over to the New World.

"I should like," said Miss D——, "to have seen Pope talking with Patty Blount; and I have seen Goldsmith." Every one turned round to look at Miss D——, as if by so doing they too could get a sight of Goldsmith.

"Where," asked a harsh croaking voice, "was Dr. Johnson in the years 1745-6? He did not write anything that we know of, nor is there any account of him in Boswell during those two years. Was he in Scotland with the Pretender? He seems to have passed through the scenes in the Highlands in company with Boswell many years after 'with lack-lustre eye,' yet as if they were familiar to him, or associated in his mind with interests that he durst not explain. If so, it would be an additional reason for my liking him; and I would give something to have seen him seated in the tent with the youthful Majesty of Britain, and penning the Proclamation to all true subjects and adherents of the legitimate Government."

"I thought," said A——, turning short round upon B——, "that you of the Lake School did not like Pope?"—"Not like Pope! My dear sir, you must be under a mistake—I can read him over and over for ever!"—"Why certainly, the Essay on Man must be allowed to be a master-piece."—"It may be so, but I seldom look into it."—"Oh! then it's his Satires you admire?"—"No, not his Satires, but his friendly Epistles and his compliments."—"Compliments! I did not know he ever made any."—"The finest," said B——, "that were ever paid by the wit of man. Each of them is worth an estate for life—nay, is an immortality. There is that superb one to Lord Cornbury:

"Despise low joys, low gains: Disdain whatever Cornbury disdains; Be virtuous, and be happy for your pains.

"Was there ever more artful insinuation of idolatrous praise? And then that noble apotheosis of his friend Lord Mansfield (however little deserved), when, speaking of the House of Lords, he adds—

"Conspicuous scene! another yet is nigh, (More silent far) where kings and poets lie; Where Murray (long enough his Country's pride) Shall be no more than Tully or than Hyde!

"And with what a fine turn of indignant flattery he addresses Lord Bolingbroke—

"Why rail they then, if but one wreath of mine, Oh! all-accomplish'd St. John, deck thy shrine?

"Or turn," continued B——, with a slight hectic on his cheek and his eye glistening, "to his list of early friends:

"But why then publish? Granville the polite, And knowing Walsh, would tell me I could write; Well-natured Garth inflamed with early praise, And Congreve loved and Swift endured my lays: The courtly Talbot, Somers, Sheffield read, Ev'n mitred Rochester would nod the head; And St. John's self (great Dryden's friend before) Received with open arms one poet more. Happy my studies, if by these approved! Happier their author, if by these beloved! From these the world will judge of men and books, Not from the Burnets, Oldmixons, and Cooks."

Here his voice totally failed him, and throwing down the book, he said, "Do you think I would not wish to have been friends with such a man as this?"

"What say you to Dryden?"—"He rather made a show of himself, and courted popularity in that lowest temple of Fame, a coffee-house, so as in some measure to vulgarize one's idea of him. Pope, on the contrary, reached the very beau ideal of what a poet's life should be; and his fame while living seemed to be an emanation from that which was to circle his name after death. He was so far enviable (and one would feel proud to have witnessed the rare spectacle in him) that he was almost the only poet and man of genius who met with his reward on this side of the tomb, who realized in friends, fortune, the esteem of the world, the most sanguine hopes of a youthful ambition, and who found that sort of patronage from the great during his lifetime which they would be thought anxious to bestow upon him after his death. Read Gay's verses to him on his supposed return from Greece, after his translation of Homer was finished, and say if you would not gladly join the bright procession that welcomed him home, or see it once more land at Whitehall-stairs."—"Still," said Miss D——, "I would rather have seen him talking with Patty Blount, or riding by in a coronet-coach with Lady Mary Wortley Montagu!"

E——, who was deep in a game of piquet at the other end of the room, whispered to M. C. to ask if Junius would not be a fit person to invoke from the dead. "Yes," said B——, "provided he would agree to lay aside his mask."

We were now at a stand for a short time, when Fielding was mentioned as a candidate: only one, however, seconded the proposition. "Richardson?"—"By all means, but only to look at him through the glass-door of his back-shop, hard at work upon one of his novels (the most extraordinary contrast that ever was presented between an author and his works), but not to let him come behind his counter lest he should want you to turn customer, nor to go upstairs with him, lest he should offer to read the first manuscript of Sir Charles Grandison, which was originally written in eight and twenty volumes octavo, or get out the letters of his female correspondents, to prove that Joseph Andrews was low."

There was but one statesman in the whole of English history that any one expressed the least desire to see—Oliver Cromwell, with his fine, frank, rough, pimply face, and wily policy; and one enthusiast, John Bunyan, the immortal author of the Pilgrim's Progress. It seemed that if he came into the room, dreams would follow him, and that each person would nod under his golden cloud, "nigh-sphered in Heaven," a canopy as strange and stately as any in Homer.

Of all persons near our own time, Garrick's name was received with the greatest enthusiasm, who was proposed by J. F——. He presently superseded both Hogarth and Handel, who had been talked of, but then it was on condition that he should act in tragedy and comedy, in the play and the farce, Lear and Wildair and Abel Drugger. What a sight for sore eyes that would be! Who would not part with a year's income at least, almost with a year of his natural life, to be present at it? Besides, as he could not act alone, and recitations are unsatisfactory things, what a troop he must bring with him—the silver-tongued Barry, and Quin, and Shuter and Weston, and Mrs. Clive and Mrs. Pritchard, of whom I have heard my father speak as so great a favourite when he was young! This would indeed be a revival of the dead, the restoring of art; and so much the more desirable, as such is the lurking scepticism mingled with our overstrained admiration of past excellence, that though we have the speeches of Burke, the portraits of Reynolds, the writings of Goldsmith, and the conversation of Johnson, to show what people could do at that period, and to confirm the universal testimony to the merits of Garrick; yet, as it was before our time, we have our misgivings, as if he was probably after all little better than a Bartlemy-fair actor, dressed out to play Macbeth in a scarlet coat and laced cocked-hat. For one, I should like to have seen and heard with my own eyes and ears. Certainly, by all accounts, if any one was ever moved by the true histrionic aestus, it was Garrick. When he followed the Ghost in Hamlet, he did not drop the sword as most actors do behind the scenes, but kept the point raised the whole way round, so fully was he possessed with the idea, or so anxious not to lose sight of his part for a moment. Once at a splendid dinner-party at Lord ——-'s, they suddenly missed Garrick, and could not imagine what was become of him, till they were drawn to the window by the convulsive screams and peals of laughter of a young negro-boy, who was rolling on the ground in an ecstasy of delight to see Garrick mimicking a turkey-cock in the court-yard, with his coat-tail stuck out behind, and in a seeming flutter of feathered rage and pride. Of our party only two persons present had seen the British Roscius; and they seemed as willing as the rest to renew their acquaintance with their old favourite.

We were interrupted in the hey-day and mid-career of this fanciful speculation, by a grumbler in a corner, who declared it was a shame to make all this rout about a mere player and farce-writer, to the neglect and exclusion of the fine old dramatists, the contemporaries and rivals of Shakspeare. B—— said he had anticipated this objection when he had named the author of Mustapha and Alaham; and out of caprice insisted upon keeping him to represent the set, in preference to the wild hair-brained enthusiast Kit Marlowe; to the sexton of St. Ann's, Webster, with his melancholy yew-trees and death's-heads; to Deckar, who was but a garrulous proser; to the voluminous Heywood; and even to Beaumont and Fletcher, whom we might offend by complimenting the wrong author on their joint productions. Lord Brook, on the contrary, stood quite by himself, or in Cowley's words, was "a vast species alone." Some one hinted at the circumstance of his being a lord, which rather startled B——, but he said a ghost would perhaps dispense with strict etiquette, on being regularly addressed by his title. Ben Jonson divided our suffrages pretty equally. Some were afraid he would begin to traduce Shakspeare, who was not present to defend himself. "If he grows disagreeable," it was whispered aloud, "there is G—— can match him." At length his romantic visit to Drummond of Hawthornden was mentioned, and turned the scale in his favour.

B—— inquired if there was any one that was hanged that I would choose to mention? And I answered, Eugene Aram.[146] The name of the "Admirable Crichton" was suddenly started as a splendid example of waste talents, so different from the generality of his countrymen. This choice was mightily approved by a North-Briton present, who declared himself descended from that prodigy of learning and accomplishment, and said he had family-plate in his possession as vouchers for the fact, with the initials A. C.—Admirable Crichton! H—— laughed or rather roared as heartily at this as I should think he has done for many years.

The last-named Mitre-courtier[147] then wished to know whether there were any metaphysicians to whom one might be tempted to apply the wizard spell? I replied, there were only six in modern times deserving the name—Hobbes, Berkeley, Butler, Hartley, Hume, Leibnitz; and perhaps Jonathan Edwards, a Massachusetts man.[148] As to the French, who talked fluently of having created this science, there was not a tittle in any of their writings, that was not to be found literally in the authors I had mentioned. [Horne Tooke, who might have a claim to come in under the head of Grammar, was still living.] None of these names seemed to excite much interest, and I did not plead for the re-appearance of those who might be thought best fitted by the abstracted nature of their studies for their present spiritual and disembodied state, and who, even while on this living stage, were nearly divested of common flesh and blood. As A—— with an uneasy fidgetty face was about to put some question about Mr. Locke and Dugald Stewart, he was prevented by M. C., who observed, "If J—— was here, he would undoubtedly be for having up those profound and redoubted scholiasts, Thomas Aquinas and Duns Scotus." I said; this might be fair enough in him who had read or fancied he had read the original works, but I did not see how we could have any right to call up these authors to give an account of themselves in person, till we had looked into their writings.

By this time it should seem that some rumour of our whimsical deliberation had got wind, and had disturbed the irritable genus in their shadowy abodes, for we received messages from several candidates that we had just been thinking of. Gray declined our invitation, though he had not yet been asked: Gay offered to come and bring in his hand the Duchess of Bolton, the original Polly: Steele and Addison left their cards as Captain Sentry and Sir Roger de Coverley: Swift came in and sat down without speaking a word, and quitted the room as abruptly: Otway and Chatterton were seen lingering on the opposite side of the Styx, but could not muster enough between them to pay Charon his fare: Thomson fell asleep in the boat, and was rowed back again—and Burns sent a low fellow, one John Barleycorn, an old companion of his who had conducted him to the other world, to say that he had during his lifetime been drawn out of his retirement as a show, only to be made an exciseman of, and that he would rather remain where he was. He desired, however, to shake hands by his representative—the hand, thus held out, was in a burning fever, and shook prodigiously.

The room was hung round with several portraits of eminent painters. While we were debating whether we should demand speech with these masters of mute eloquence, whose features were so familiar to us, it seemed that all at once they glided from their frames, and seated themselves at some little distance from us. There was Leonardo with his majestic beard and watchful eye, having a bust of Archimedes before him; next him was Raphael's graceful head turned round to the Fornarina; and on his other side was Lucretia Borgia, with calm, golden locks; Michael Angelo had placed the model of St. Peter's on the table before him; Correggio had an angel at his side; Titian was seated with his Mistress between himself and Giorgioni; Guido was accompanied by his own Aurora, who took a dice-box from him; Claude held a mirror in his hand; Rubens patted a beautiful panther (led in by a satyr) on the head; Vandyke appeared as his own Paris, and Rembrandt was hid under furs, gold chains and jewels, which Sir Joshua eyed closely, holding his hand so as to shade his forehead. Not a word was spoken; and as we rose to do them homage, they still presented the same surface to the view. Not being bona-fide representations of living people, we got rid of the splendid apparitions by signs and dumb show. As soon as they had melted into thin air, there was a loud noise at the outer door, and we found it was Giotto, Cimabue, and Ghirlandaio, who had been raised from the dead by their earnest desire to see their illustrious successors—

"Whose names on earth In Fame's eternal records live for aye!"

Finding them gone, they had no ambition to be seen after them, and mournfully withdrew. "Egad!" said B——, "those are the very fellows I should like to have had some talk with, to know how they could see to paint when all was dark around them?"

"But shall we have nothing to say," interrogated G. J——, "to the Legend of Good Women?"—"Name, name, Mr. J——," cried H—— in a boisterous tone of friendly exultation, "name as many as you please, without reserve or fear of molestation!" J—— was perplexed between so many amiable recollections, that the name of the lady of his choice expired in a pensive whiff of his pipe; and B—— impatiently declared for the Duchess of Newcastle. Mrs. Hutchinson was no sooner mentioned, than she carried the day from the Duchess. We were the less solicitous on this subject of filling up the posthumous lists of Good Women, as there was already one in the room as good, as sensible, and in all respects as exemplary, as the best of them could be for their lives! "I should like vastly to have seen Ninon de l'Enclos," said that incomparable person; and this immediately put us in mind that we had neglected to pay honour due to our friends on the other side of the Channel: Voltaire, the patriarch of levity, and Rousseau, the father of sentiment, Montaigne and Rabelais (great in wisdom and in wit), Moliere and that illustrious group that are collected round him (in the print of that subject) to hear him read his comedy of the Tartuffe at the house of Ninon; Racine, La Fontaine, Rochefoucault, St. Evremont, etc.

"There is one person," said a shrill, querulous voice, "I would rather see than all these—Don Quixote!"

"Come, come!" said H——; "I thought we should have no heroes, real or fabulous. What say you, Mr. B——? Are you for eking out your shadowy list with such names as Alexander, Julius Caesar, Tamerlane, or Ghengis Khan?"—"Excuse me," said B——, "on the subject of characters in active life, plotters and disturbers of the world, I have a crotchet of my own, which I beg leave to reserve."—"No, no! come, out with your worthies!"—"What do you think of Guy Faux and Judas Iscariot?" H—— turned an eye upon him like a wild Indian, but cordial and full of smothered glee. "Your most exquisite reason!" was echoed on all sides; and A—— thought that B—— had now fairly entangled himself. "Why, I cannot but think," retorted he of the wistful countenance, "that Guy Faux, that poor fluttering annual scare-crow of straw and rags, is an ill-used gentleman. I would give something to see him sitting pale and emaciated, surrounded by his matches and his barrels of gunpowder, and expecting the moment that was to transport him to Paradise for his heroic self-devotion; but if I say any more, there is that fellow G—— will make something of it.—And as to Judas Iscariot, my reason is different. I would fain see the face of him, who, having dipped his hand in the same dish with the Son of Man, could afterwards betray him. I have no conception of such a thing; nor have I ever seen any picture (not even Leonardo's very fine one) that gave me the least idea of it."—"You have said enough, Mr. B——, to justify your choice."

"Oh! ever right, Menenius,—ever right!"

"There is only one other person I can ever think of after this," continued H——; but without mentioning a name that once put on a semblance of mortality. "If Shakspeare was to come into the room, we should all rise up to meet him; but if that person was to come into it, we should all fall down and try to kiss the hem of his garment!"

As a lady present seemed now to get uneasy at the turn the conversation had taken, we rose up to go. The morning broke with that dim, dubious light by which Giotto, Cimabue, and Ghirlandaio must have seen to paint their earliest works; and we parted to meet again and renew similar topics at night, the next night, and the night after that, till that night overspread Europe which saw no dawn. The same event, in truth, broke up our little Congress that broke up the great one. But that was to meet again: our deliberations have never been resumed.



XX

ON READING OLD BOOKS

I hate to read new books. There are twenty or thirty volumes that I have read over and over again, and these are the only ones that I have any desire ever to read at all. It was a long time before I could bring myself to sit down to the Tales of My Landlord, but now that author's works have made a considerable addition to my scanty library. I am told that some of Lady Morgan's are good, and have been recommended to look into Anastasius; but I have not yet ventured upon that task. A lady, the other day, could not refrain from expressing her surprise to a friend, who said he had been reading Delphine:—she asked,—If it had not been published some time back? Women judge of books as they do of fashions or complexions, which are admired only "in their newest gloss." That is not my way. I am not one of those who trouble the circulating libraries much, or pester the booksellers for mail-coach copies of standard periodical publications. I cannot say that I am greatly addicted to black-letter, but I profess myself well versed in the marble bindings of Andrew Millar, in the middle of the last century; nor does my taste revolt at Thurloe's State Papers, in Russia leather; or an ample impression of Sir William Temple's Essays, with a portrait after Sir Godfrey Kneller in front. I do not think altogether the worse of a book for having survived the author a generation or two. I have more confidence in the dead than the living. Contemporary writers may generally be divided into two classes—one's friends or one's foes. Of the first we are compelled to think too well, and of the last we are disposed to think too ill, to receive much genuine pleasure from the perusal, or to judge fairly of the merits of either. One candidate for literary fame, who happens to be of our acquaintance, writes finely, and like a man of genius; but unfortunately has a foolish face, which spoils a delicate passage:—another inspires us with the highest respect for his personal talents and character, but does not quite come up to our expectations in print. All these contradictions and petty details interrupt the calm current of our reflections. If you want to know what any of the authors were who lived before our time, and are still objects of anxious inquiry, you have only to look into their works. But the dust and smoke and noise of modern literature have nothing in common with the pure, silent air of immortality.

When I take up a work that I have read before (the oftener the better) I know what I have to expect. The satisfaction is not lessened by being anticipated. When the entertainment is altogether new, I sit down to it as I should to a strange dish,—turn and pick out a bit here and there, and am in doubt what to think of the composition. There is a want of confidence and security to second appetite. New-fangled books are also like made-dishes in this respect, that they are generally little else than hashes and rifaccimentos of what has been served up entire and in a more natural state at other times. Besides, in thus turning to a well-known author, there is not only an assurance that my time will not be thrown away, or my palate nauseated with the most insipid or vilest trash,—but I shake hands with, and look an old, tried, and valued friend in the face,—compare notes, and chat the hours away. It is true, we form dear friendships with such ideal guests—dearer, alas! and more lasting, than those with our most intimate acquaintance. In reading a book which is an old favourite with me (say the first novel I ever read) I not only have the pleasure of imagination and of a critical relish of the work, but the pleasures of memory added to it. It recalls the same feelings and associations which I had in first reading it, and which I can never have again in any other way. Standard productions of this kind are links in the chain of our conscious being. They bind together the different scattered divisions of our personal identity. They are land-marks and guides in our journey through life. They are pegs and loops on which we can hang up, or from which we can take down, at pleasure, the wardrobe of a moral imagination, the relics of our best affections, the tokens and records of our happiest hours. They are "for thoughts and for remembrance!" They are like Fortunatus's Wishing-Cap—they give us the best riches—those of Fancy; and transport us, not over half the globe, but (which is better) over half our lives, at a word's notice!

My father Shandy solaced himself with Bruscambille. Give me for this purpose a volume of Peregrine Pickle or Tom Jones. Open either of them anywhere—at the Memoirs of Lady Vane, or the adventures at the masquerade with Lady Bellaston, or the disputes between Thwackum and Square, or the escape of Molly Seagrim, or the incident of Sophia and her muff, or the edifying prolixity of her aunt's lecture—and there I find the same delightful, busy, bustling scene as ever, and feel myself the same as when I was first introduced into the midst of it. Nay, sometimes the sight of an odd volume of these good old English authors on a stall, or the name lettered on the back among others on the shelves of a library, answers the purpose, revives the whole train of ideas, and sets "the puppets dallying." Twenty years are struck off the list, and I am a child again. A sage philosopher, who was not a very wise man, said, that he should like very well to be young again, if he could take his experience along with him. This ingenious person did not seem to be aware, by the gravity of his remark, that the great advantage of being young is to be without this weight of experience, which he would fain place upon the shoulders of youth, and which never comes too late with years. Oh! what a privilege to be able to let this hump, like Christian's burthen, drop from off one's back, and transport one's-self, by the help of a little musty duodecimo, to the time when "ignorance was bliss," and when we first got a peep at the raree-show of the world, through the glass of fiction—gazing at mankind, as we do at wild beasts in a menagerie, through the bars of their cages,—or at curiosities in a museum, that we must not touch! For myself, not only are the old ideas of the contents of the work brought back to my mind in all their vividness, but the old associations of the faces and persons of those I then knew, as they were in their lifetime—the place where I sat to read the volume, the day when I got it, the feeling of the air, the fields, the sky—return, and all my early impressions with them. This is better to me—those places, those times, those persons, and those feelings that come across me as I retrace the story and devour the page, are to me better far than the wet sheets of the last new novel from the Ballantyne press, to say nothing of the Minerva press in Leadenhall-street. It is like visiting the scenes of early youth. I think of the time "when I was in my father's house, and my path ran down with butter and honey,"—when I was a little, thoughtless child, and had no other wish or care but to con my daily task, and be happy!—Tom Jones, I remember, was the first work that broke the spell. It came down in numbers once a fortnight, in Cooke's pocket-edition, embellished with cuts. I had hitherto read only in school-books, and a tiresome ecclesiastical history (with the exception of Mrs. Radcliffe's Romance of the Forest): but this had a different relish with it,—"sweet in the mouth," though not "bitter in the belly." It smacked of the world I lived in, and in which I was to live—and shewed me groups, "gay creatures" not "of the element," but of the earth; not "living in the clouds," but travelling the same road that I did;—some that had passed on before me, and others that might soon overtake me. My heart had palpitated at the thoughts of a boarding-school ball, or gala-day at Midsummer or Christmas: but the world I had found out in Cooke's edition of the British Novelists was to me a dance through life, a perpetual gala-day. The six-penny numbers of this work regularly contrived to leave off just in the middle of a sentence, and in the nick of a story, where Tom Jones discovers Square behind the blanket; or where Parson Adams, in the inextricable confusion of events, very undesignedly gets to bed to Mrs. Slip-slop. Let me caution the reader against this impression of Joseph Andrews; for there is a picture of Fanny in it which he should not set his heart on, lest he should never meet with anything like it; or if he should, it would, perhaps, be better for him that he had not. It was just like —— ——! With what eagerness I used to look forward to the next number, and open the prints! Ah! never again shall I feel the enthusiastic delight with which I gazed at the figures, and anticipated the story and adventures of Major Bath and Commodore Trunnion, of Trim and my Uncle Toby, of Don Quixote and Sancho and Dapple, of Gil Blas and Dame Lorenza Sephora, of Laura and the fair Lucretia, whose lips open and shut like buds of roses. To what nameless ideas did they give rise,—with what airy delights I filled up the outlines, as I hung in silence over the page!—Let me still recall them, that they may breathe fresh life into me, and that I may live that birthday of thought and romantic pleasure over again! Talk of the ideal! This is the only true ideal—the heavenly tints of Fancy reflected in the bubbles that float upon the spring-tide of human life.

Oh! Memory! shield me from the world's poor strife, And give those scenes thine everlasting life!

The paradox with which I set out is, I hope, less startling than it was; the reader will, by this time, have been let into my secret. Much about the same time, or I believe rather earlier, I took a particular satisfaction in reading Chubb's Tracts, and I often think I will get them again to wade through. There is a high gusto of polemical divinity in them; and you fancy that you hear a club of shoemakers at Salisbury, debating a disputable text from one of St. Paul's Epistles in a workmanlike style, with equal shrewdness and pertinacity. I cannot say much for my metaphysical studies, into which I launched shortly after with great ardour, so as to make a toil of a pleasure. I was presently entangled in the briars and thorns of subtle distinctions,—of "fate, free-will, fore-knowledge absolute," though I cannot add that "in their wandering mazes I found no end;" for I did arrive at some very satisfactory and potent conclusions; nor will I go so far, however ungrateful the subject might seem, as to exclaim with Marlowe's Faustus—"Would I had never seen Wittenberg, never read book"—that is, never studied such authors as Hartley, Hume, Berkeley, etc. Locke's Essay on the Human Understanding is, however, a work from which I never derived either pleasure or profit; and Hobbes, dry and powerful as he is, I did not read till long afterwards. I read a few poets, which did not much hit my taste,—for I would have the reader understand, I am deficient in the faculty of imagination; but I fell early upon French romances and philosophy, and devoured them tooth-and-nail. Many a dainty repast have I made of the New Eloise;—the description of the kiss; the excursion on the water; the letter of St. Preux, recalling the time of their first loves; and the account of Julia's death; these I read over and over again with unspeakable delight and wonder. Some years after, when I met with this work again, I found I had lost nearly my whole relish for it (except some few parts) and was, I remember, very much mortified with the change in my taste, which I sought to attribute to the smallness and gilt edges of the edition I had bought, and its being perfumed with rose-leaves. Nothing could exceed the gravity, the solemnity with which I carried home and read the Dedication to the Social Contract, with some other pieces of the same author, which I had picked up at a stall in a coarse leathern cover. Of the Confessions I have spoken elsewhere, and may repeat what I have said—"Sweet is the dew of their memory, and pleasant the balm of their recollection!" Their beauties are not "scattered like stray-gifts o'er the earth," but sown thick on the page, rich and rare. I wish I had never read the Emilius, or read it with less implicit faith. I had no occasion to pamper my natural aversion to affectation or pretence, by romantic and artificial means. I had better have formed myself on the model of Sir Fopling Flutter. There is a class of persons whose virtues and most shining qualities sink in, and are concealed by, an absorbent ground of modesty and reserve; and such a one I do, without vanity, profess myself.[149] Now these are the very persons who are likely to attach themselves to the character of Emilius, and of whom it is sure to be the bane. This dull, phlegmatic, retiring humour is not in a fair way to be corrected, but confirmed and rendered desperate, by being in that work held up as an object of imitation, as an example of simplicity and magnanimity—by coming upon us with all the recommendations of novelty, surprise, and superiority to the prejudices of the world—by being stuck upon a pedestal, made amiable, dazzling, a leurre de dupe! The reliance on solid worth which it inculcates, the preference of sober truth to gaudy tinsel, hangs like a mill-stone round the neck of the imagination—"a load to sink a navy"—impedes our progress, and blocks up every prospect in life. A man, to get on, to be successful, conspicuous, applauded, should not retire upon the centre of his conscious resources, but be always at the circumference of appearances. He must envelop himself in a halo of mystery—he must ride in an equipage of opinion—he must walk with a train of self-conceit following him—he must not strip himself to a buff-jerkin, to the doublet and hose of his real merits, but must surround himself with a cortege of prejudices, like the signs of the Zodiac—he must seem any thing but what he is, and then he may pass for any thing he pleases. The world love to be amused by hollow professions, to be deceived by flattering appearances, to live in a state of hallucination; and can forgive every thing but the plain, downright, simple honest truth—such as we see it chalked out in the character of Emilius.—To return from this digression, which is a little out of place here.

Books have in a great measure lost their power over me; nor can I revive the same interest in them as formerly. I perceive when a thing is good, rather than feel it. It is true,

Marcian Colonna is a dainty book;

and the reading of Mr. Keats's Eve of St. Agnes lately made me regret that I was not young again. The beautiful and tender images there conjured up, "come like shadows—so depart." The "tiger-moth's wings," which he has spread over his rich poetic blazonry, just flit across my fancy; the gorgeous twilight window which he has painted over again in his verse, to me "blushes" almost in vain "with blood of queens and kings." I know how I should have felt at one time in reading such passages; and that is all. The sharp luscious flavour, the fine aroma is fled, and nothing but the stalk, the bran, the husk of literature is left. If any one were to ask me what I read now, I might answer with my Lord Hamlet in the play—"Words, words, words."—"What is the matter?"—"Nothing!"—They have scarce a meaning. But it was not always so. There was a time when to my thinking, every word was a flower or a pearl, like those which dropped from the mouth of the little peasant-girl in the Fairy tale, or like those that fall from the great preacher in the Caledonian Chapel! I drank of the stream of knowledge that tempted, but did not mock my lips, as of the river of life, freely. How eagerly I slaked my thirst of German sentiment, "as the hart that panteth for the water-springs;" how I bathed and revelled, and added my floods of tears to Goethe's Sorrows of Werter, and to Schiller's Robbers—

Giving my stock of more to that which had too much!

I read and assented with all my soul to Coleridge's fine Sonnet, beginning—

Schiller! that hour I would have wish'd to die, If through the shuddering midnight I had sent, From the dark dungeon of the tow'r time rent, That fearful voice, a famish'd father's cry!

I believe I may date my insight into the mysteries of poetry from the commencement of my acquaintance with the authors of the Lyrical Ballads; at least, my discrimination of the higher sorts—not my predilection for such writers as Goldsmith or Pope: nor do I imagine they will say I got my liking for the Novelists, or the comic writers,—for the characters of Valentine, Tattle, or Miss Prue, from them. If so, I must have got from them what they never had themselves. In points where poetic diction and conception are concerned, I may be at a loss, and liable to be imposed upon: but in forming an estimate of passages relating to common life and manners, I cannot think I am a plagiarist from any man. I there "know my cue without a prompter." I may say of such studies—Intus et in cute. I am just able to admire those literal touches of observation and description, which persons of loftier pretensions overlook and despise. I think I comprehend something of the characteristic part of Shakspeare; and in him indeed all is characteristic, even the nonsense and poetry. I believe it was the celebrated Sir Humphry Davy who used to say, that Shakspeare was rather a metaphysician than a poet. At any rate, it was not ill said. I wish that I had sooner known the dramatic writers contemporary with Shakspeare; for in looking them over about a year ago, I almost revived my old passion for reading, and my old delight in books, though they were very nearly new to me. The Periodical Essayists I read long ago. The Spectator I liked extremely: but the Tatler took my fancy most. I read the others soon after, the Rambler, the Adventurer, the World, the Connoisseur: I was not sorry to get to the end of them, and have no desire to go regularly through them again. I consider myself a thorough adept in Richardson. I like the longest of his novels best, and think no part of them tedious; nor should I ask to have any thing better to do than to read them from beginning to end, to take them up when I chose, and lay them down when I was tired, in some old family mansion in the country, till every word and syllable relating to the bright Clarissa, the divine Clementina, the beautiful Pamela, "with every trick and line of their sweet favour," were once more "graven in my heart's table."[150] I have a sneaking kindness for Mackenzie's Julia de Roubigne—for the deserted mansion, and straggling gilliflowers on the mouldering garden-wall; and still more for his Man of Feeling; not that it is better, nor so good; but at the time I read it, I sometimes thought of the heroine, Miss Walton, and of Miss —— together, and "that ligament, fine as it was, was never broken!"—One of the poets that I have always read with most pleasure, and can wander about in for ever with a sort of voluptuous indolence, is Spenser; and I like Chaucer even better. The only writer among the Italians I can pretend to any knowledge of, is Boccacio, and of him I cannot express half my admiration. His story of the Hawk I could read and think of from day to day, just as I would look at a picture of Titian's!—

I remember, as long ago as the year 1798, going to a neighbouring town (Shrewsbury, where Farquhar has laid the plot of his Recruiting Officer) and bringing home with me, "at one proud swoop," a copy of Milton's Paradise Lost, and another of Burke's Reflections on the French Revolution—both which I have still; and I still recollect, when I see the covers, the pleasure with which I clipped into them as I returned with my double prize. I was set up for one while. That time is past "with all its giddy raptures:" but I am still anxious to preserve its memory, "embalmed with odours."—With respect to the first of these works, I would be permitted to remark here in passing, that it is a sufficient answer to the German criticism which has since been started against the character of Satan (viz. that it is not one of disgusting deformity, or pure, defecated malice) to say that Milton has there drawn, not the abstract principle of evil, not a devil incarnate, but a fallen angel. This is the Scriptural account, and the poet has followed it. We may safely retain such passages as that well-known one—

——His form had not yet lost All her original brightness; nor appear'd Less than archangel ruin'd; and the excess Of glory obscur'd—

for the theory, which is opposed to them, "falls flat upon the grunsel edge, and shames its worshippers." Let us hear no more then of this monkish cant, and bigotted outcry for the restoration of the horns and tail of the devil!—Again, as to the other work, Burke's Reflections, I took a particular pride and pleasure in it, and read it to myself and others for months afterwards. I had reason for my prejudice in favour of this author. To understand an adversary is some praise: to admire him is more. I thought I did both: I knew I did one. From the first time I ever cast my eyes on anything of Burke's (which was an extract from his Letter to a Noble Lord in a three-times a week paper, The St. James's Chronicle, in 1796), I said to myself, "This is true eloquence: this is a man pouring out his mind on paper." All other style seemed to me pedantic and impertinent. Dr. Johnson's was walking on stilts; and even Junius's (who was at that time a favourite with me) with all his terseness, shrunk up into little antithetic points and well-trimmed sentences. But Burke's style was forked and playful as the lightning, crested like the serpent. He delivered plain things on a plain ground; but when he rose, there was no end of his flights and circumgyrations—and in this very Letter, "he, like an eagle in a dove-cot, fluttered his Volscians," (the Duke of Bedford and the Earl of Lauderdale[151]) "in Corioli." I did not care for his doctrines. I was then, and am still, proof against their contagion; but I admired the author, and was considered as not a very staunch partisan of the opposite side, though I thought myself that an abstract proposition was one thing—a masterly transition, a brilliant metaphor, another. I conceived, too, that he might be wrong in his main argument, and yet deliver fifty truths in arriving at a false conclusion. I remember Coleridge assuring me, as a poetical and political set-off to my sceptical admiration, that Wordsworth had written an Essay on Marriage, which, for manly thought and nervous expression, he deemed incomparably superior. As I had not, at that time, seen any specimens of Mr. Wordsworth's prose style, I could not express my doubts on the subject. If there are greater prose-writers than Burke, they either lie out of my course of study, or are beyond my sphere of comprehension. I am too old to be a convert to a new mythology of genius. The niches are occupied, the tables are full. If such is still my admiration of this man's misapplied powers, what must it have been at a time when I myself was in vain trying, year after year, to write a single Essay, nay, a single page or sentence; when I regarded the wonders of his pen with the longing eyes of one who was dumb and a changeling; and when, to be able to convey the slightest conception of my meaning to others in words, was the height of an almost hopeless ambition! But I never measured others' excellences by my own defects: though a sense of my own incapacity, and of the steep, impassable ascent from me to them, made me regard them with greater awe and fondness. I have thus run through most of my early studies and favourite authors, some of whom I have since criticised more at large. Whether those observations will survive me, I neither know nor do I much care: but to the works themselves, "worthy of all acceptation," and to the feelings they have always excited in me since I could distinguish a meaning in language, nothing shall ever prevent me from looking back with gratitude and triumph. To have lived in the cultivation of an intimacy with such works, and to have familiarly relished such names, is not to have lived quite in vain.

There are other authors whom I have never read, and yet whom I have frequently had a great desire to read, from some circumstance relating to them. Among these is Lord Clarendon's History of the Grand Rebellion, after which I have a hankering, from hearing it spoken of by good judges—from my interest in the events, and knowledge of the characters from other sources, and from having seen fine portraits of most of them. I like to read a well-penned character, and Clarendon is said to have been a master in this way. I should like to read Froissart's Chronicles, Hollinshed and Stowe, and Fuller's Worthies. I intend, whenever I can, to read Beaumont and Fletcher all through. There are fifty-two of their plays, and I have only read a dozen or fourteen of them. A Wife for a Month, and Thierry and Theodoret, are, I am told, delicious, and I can believe it. I should like to read the speeches in Thucydides, and Guicciardini's History of Florence, and Don Quixote in the original. I have often thought of reading the Loves of Persiles and Sigismunda, and the Galatea of the same author. But I somehow reserve them like "another Yarrow." I should also like to read the last new novel (if I could be sure it was so) of the author of Waverley:—no one would be more glad than I to find it the best!—



FOOTNOTES:

[1] Dramatic Essays, VIII, 415.

[2] "On Living to One's Self," in Table Talk.

[3] "On Reading Old Books," pp. 344-45.

[4] "On Criticism," in Table Talk.

[5] Life of Holcroft, Works, II, 171, n.

[6] "On the Pleasure of Painting," in Table Talk.

[7] W. C. Hazlitt: Lamb and Hazlitt (1900), p. 44. The letter in which these phrases are to be found is dated 1793 by Mr. W. C. Hazlitt, but the present writer has given a detailed statement of his reasons for believing that it was written in 1803. See Nation, October 19, 1911.

[8] XI, 26.

[9] Table Talk, "On the Indian Jugglers."

[10] Round Table.

[11] "On Respectable People," in Plain Speaker.

[12] "On Paradox and Commonplace," in Table Talk.

[13] Hazlitt's Table Talk was included by Stevenson in a youthful Catalogus Librorum Carissimorum. It is interesting that at the same time that Carlyle was composing Sartor Resartus, Hazlitt should have penned this bit of savage satire. "It has been often made a subject of dispute, What is the distinguishing characteristic of man? And the answer may, perhaps, be given that he is the only animal that dresses.... Swift has taken a good bird's-eye view of man's nature, by abstracting the habitual notions of size, and looking at it in great or in little: would that some one had the boldness and the art to do a similar service, by stripping off the coat from his back, the vizor from his thoughts, or by dressing up some other creature in similar mummery! It is not his body alone that he tampers with, and metamorphoses so successfully; he tricks out his mind and soul in borrowed finery, and in the admired costume of gravity and imposture. If he has a desire to commit a base or a cruel action without remorse and with the applause of the spectators, he has only to throw the cloak of religion over it, and invoke Heaven to set its seal on a massacre or a robbery. At one time dirt, at another indecency, at another rapine, at a fourth rancorous malignity, is decked out and accredited in the garb of sanctity. The instant there is a flaw, a 'damned spot' to be concealed, it is glossed over with a doubtful name. Again, we dress up our enemies in nicknames, and they march to the stake as assuredly as in san Benitos.... Strange, that a reptile should wish to be thought an angel; or that he should not be content to writhe and grovel in his native earth, without aspiring to the skies! It is from the love of dress and finery. He is the Chimney-sweeper on May-day all the year round: the soot peeps through the rags and tinsel, and all the flowers of sentiment!" Aphorisms on Man, LXIV. Works, XII, 227.