If, then, we could have Professors who were mere abstractions and phantoms, marrowless in their bones, and without speculation in their eyes; or if they could only open their mouths on their own special subject, and in their scientific pedantry were dead to the world; if they resembled the well known character in the Romance, who was so imprisoned or fossilized in his erudition, that, though "he stirred the fire with some address," nevertheless, on attempting to snuff the candles, he "was unsuccessful, and relinquished that ambitious post of courtesy, after having twice reduced the parlour to total darkness," then indeed Voltaire himself might be admitted, not without scandal, but without risk, to lecture on astronomy or galvanism in Catholic, or Protestant, or Presbyterian Colleges, or in all of them at once; and we should have no practical controversy with philosophers who, after the fashion of the author I have been quoting, are so smart in proving that we, who differ from them, must needs be so bigotted and puzzle-headed.

And in strict conformity with these obvious distinctions, it will be found that, so far as we are able to reduce scientific men of anti-Catholic opinions to the type of the imaginary bookworm to whom I have been alluding, we do actually use them in our schools. We allow our Catholic student to use them, so far as he can surprise them (if I may use the expression), in their formal treatises, and can keep them close prisoners there.

Vix defessa senem passus componere membra, Cum clamore ruit magno, manicisque jacentem Occupat.

The fisherman, in the Arabian tale, took no harm from the genius, till he let him out from the brass bottle in which he was confined. "He examined the vessel and shook it, to see if what was within made any noise, but he heard nothing." All was safe till he had succeeded in opening it, and "then came out a very thick smoke, which, ascending to the clouds and extending itself along the sea shore in a thick mist, astonished him very much. After a time the smoke collected, and was converted into a genius of enormous height. At the sight of this monster, whose head appeared to reach the clouds, the fisherman trembled with fear." Such is the difference between an unbelieving or heretical philosopher in person, and in the mere disquisitions proper to his science. Porson was no edifying companion for young men of eighteen, nor are his letters on the text of the Three Heavenly Witnesses to be recommended; but that does not hinder his being admitted into Catholic schools, while he is confined within the limits of his Preface to the Hecuba. Franklin certainly would have been intolerable in person, if he began to talk freely, and throw out, as I think he did in private, that each solar system had its own god; but such extravagances of so able a man do not interfere with the honour we justly pay his name in the history of experimental science. Nay, the great Newton himself would have been silenced in a Catholic University, when he got upon the Apocalypse; yet is that any reason why we should not study his Principia, or avail ourselves of the wonderful analysis which he, Protestant as he was, originated, and which French infidels have developed? We are glad, for their own sakes, that anti-Catholic writers should, in their posthumous influence, do as much real service to the human race as ever they can, and we have no wish to interfere with it.

3.

Returning, then, to the point from which we set out, I observe that, this being the state of the case as regards abstract science, viz., that we have no quarrel with its anti-Catholic commentators, till they thrust their persons into our Chairs, or their popular writings into our reading-rooms, it follows that, when we contemplate the formation of a Catholic Literature, we do not consider scientific works as among our most prominent desiderata. They are to be looked for, not so much for their own sake, as because they are indications that we have able scientific men in our communion; for if we have such, they will be certain to write, and in proportion as they increase in number will there be the chance of really profound, original, and standard books issuing from our Lecture-rooms and Libraries. But, after all, there is no reason why these should be better than those which we have already received from Protestants; though it is at once more becoming and more agreeable to our feelings to use books of our own, instead of being indebted to the books of others.

Literature, then, is not synonymous with Science; nor does Catholic education imply the exclusion of works of abstract reasoning, or of physical experiment, or the like, though written by persons of another or of no communion.

There is another consideration in point here, or rather prior to what I have been saying; and that is, that, considering certain scientific works, those on Criticism, for instance, are so often written in a technical phraseology, and since others, as mathematical, deal so largely in signs, symbols, and figures, which belong to all languages, these abstract studies cannot properly be said to fall under English Literature at all;—for by Literature I understand Thought, conveyed under the forms of some particular language. And this brings me to speak of Literature in its highest and most genuine sense, viz., as an historical and national fact; and I fear, in this sense of the word also, it is altogether beside or beyond any object which a Catholic University can reasonably contemplate, at least in any moderate term of years; but so large a subject here opens upon us that I must postpone it to another Section.



3.

In its relation to Classical Literature.

1.

I have been directing the reader's attention, first to what we do not, and next to what we need not contemplate, when we turn our thoughts to the formation of an English Catholic Literature. I said that our object was neither a library of theological nor of scientific knowledge, though theology in its literary aspect, and abstract science as an exercise of intellect, have both of course a place in the Catholic encyclopaedia. One undertaking, however, there is, which not merely does not, and need not, but unhappily cannot, come into the reasonable contemplation of any set of persons, whether members of a University or not, who are desirous of Catholicizing the English language, as is very evident; and that is simply the creation of an English Classical Literature, for that has been done long ago, and would be a work beyond the powers of any body of men, even if it had still to be done. If I insist on this point here, no one must suppose I do not consider it to be self-evident; for I shall not be aiming at proving it, so much as at bringing it home distinctly to the mind, that we may, one and all, have a clearer perception of the state of things with which we have to deal. There is many an undeniable truth which is not practically felt and appreciated; and, unless we master our position in the matter before us, we may be led off into various wild imaginations or impossible schemes, which will, as a matter of course, end in disappointment.

Were the Catholic Church acknowledged from this moment through the length and breadth of these islands, and the English tongue henceforth baptized into the Catholic faith, and sealed and consecrated to Catholic objects, and were the present intellectual activity of the nation to continue, as of course it would continue, we should at once have an abundance of Catholic works, which would be English, and purely English, literature and high literature; but still all these would not constitute "English Literature," as the words are commonly understood, nor even then could we say that the "English Literature" was Catholic. Much less can we ever aspire to affirm it, while we are but a portion of the vast English-speaking world-wide race, and are but striving to create a current in the direction of Catholic truth, when the waters are rapidly flowing the other way. In no case can we, strictly speaking, form an English Literature; for by the Literature of a Nation is meant its Classics, and its Classics have been given to England, and have been recognized as such, long since.

2.

A Literature, when it is formed, is a national and historical fact; it is a matter of the past and the present, and can be as little ignored as the present, as little undone as the past. We can deny, supersede, or change it, then only, when we can do the same towards the race or language which it represents. Every great people has a character of its own, which it manifests and perpetuates in a variety of ways. It developes into a monarchy or republic;—by means of commerce or in war, in agriculture or in manufactures, or in all of these at once; in its cities, its public edifices and works, bridges, canals, and harbours; in its laws, traditions, customs, and manners; in its songs and its proverbs; in its religion; in its line of policy, its bearing, its action towards foreign nations; in its alliances, fortunes, and the whole course of its history. All these are peculiar, and parts of a whole, and betoken the national character, and savour of each other; and the case is the same with the national language and literature. They are what they are, and cannot be any thing else, whether they be good or bad or of a mixed nature; before they are formed, we cannot prescribe them, and afterwards, we cannot reverse them. We may feel great repugnance to Milton or Gibbon as men; we may most seriously protest against the spirit which ever lives, and the tendency which ever operates, in every page of their writings; but there they are, an integral portion of English Literature; we cannot extinguish them; we cannot deny their power; we cannot write a new Milton or a new Gibbon; we cannot expurgate what needs to be exorcised. They are great English authors, each breathing hatred to the Catholic Church in his own way, each a proud and rebellious creature of God, each gifted with incomparable gifts.

We must take things as they are, if we take them at all. We may refuse to say a word to English literature, if we will; we may have recourse to French or to Italian instead, if we think either of these less exceptionable than our own; we may fall back upon the Classics of Greece and Rome; we may have nothing whatever to do with literature, as such, of any kind, and confine ourselves to purely amorphous or monstrous specimens of language; but if we do once profess in our Universities the English language and literature, if we think it allowable to know the state of things we live in, and that national character which we share, if we think it desirable to have a chance of writing what may be read after our day, and praiseworthy to aim at providing for Catholics who speak English a Catholic Literature then—I do not say that we must at once throw open every sort of book to the young, the weak, or the untrained,—I do not say that we may dispense with our ecclesiastical indexes and emendations, but—we must not fancy ourselves creating what is already created in spite of us, and which never could at a moment be created by means of us, and we must recognize that historical literature, which is in occupation of the language, both as a fact, nay, and as a standard for ourselves.

There is surely nothing either "temerarious" or paradoxical in a statement like this. The growth of a nation is like that of an individual; its tone of voice and subjects for speech vary with its age. Each age has its own propriety and charm; as a boy's beauty is not a man's, and the sweetness of a treble differs from the richness of a bass, so it is with a whole people. The same period does not produce its most popular poet, its most effective orator, and its most philosophic historian. Language changes with the progress of thought and the events of history, and style changes with it; and while in successive generations it passes through a series of separate excellences, the respective deficiencies of all are supplied alternately by each. Thus language and literature may be considered as dependent on a process of nature, and admitting of subjection to her laws. Father Hardouin indeed, who maintained that, with the exception of Pliny, Cicero, Virgil's Georgics, and Horace's Satires and Epistles, Latin literature was the work of the medieval monks, had the conception of a literature neither national nor historical; but the rest of the world will be apt to consider time and place as necessary conditions in its formation, and will be unable to conceive of classical authors, except as either the elaboration of centuries, or the rare and fitful accident of genius.

First-rate excellence in literature, as in other matters, is either an accident or the outcome of a process; and in either case demands a course of years to secure. We cannot reckon on a Plato, we cannot force an Aristotle, any more than we can command a fine harvest, or create a coal field. If a literature be, as I have said, the voice of a particular nation, it requires a territory and a period, as large as that nation's extent and history, to mature in. It is broader and deeper than the capacity of any body of men, however gifted, or any system of teaching, however true. It is the exponent, not of truth, but of nature, which is true only in its elements. It is the result of the mutual action of a hundred simultaneous influences and operations, and the issue of a hundred strange accidents in independent places and times; it is the scanty compensating produce of the wild discipline of the world and of life, so fruitful in failures; and it is the concentration of those rare manifestations of intellectual power, which no one can account for. It is made up, in the particular language here under consideration, of human beings as heterogeneous as Burns and Bunyan, De Foe and Johnson, Goldsmith and Cowper, Law and Fielding, Scott and Byron. The remark has been made that the history of an author is the history of his works; it is far more exact to say that, at least in the case of great writers, the history of their works is the history of their fortunes or their times. Each is, in his turn, the man of his age, the type of a generation, or the interpreter of a crisis. He is made for his day, and his day for him. Hooker would not have been, but for the existence of Catholics and Puritans, the defeat of the former and the rise of the latter; Clarendon would not have been without the Great Rebellion; Hobbes is the prophet of the reaction to scoffing infidelity; and Addison is the child of the Revolution and its attendant changes. If there be any of our classical authors, who might at first sight have been pronounced a University man, with the exception of Johnson, Addison is he; yet even Addison, the son and brother of clergymen, the fellow of an Oxford Society, the resident of a College which still points to the walk which he planted, must be something more, in order to take his place among the Classics of the language, and owed the variety of his matter to his experience of life, and to the call made on his resources by the exigencies of his day. The world he lived in made him and used him. While his writings educated his own generation, they have delineated it for all posterity after him.

3.

I have been speaking of the authors of a literature, in their relation to the people and course of events to which they belong; but a prior consideration, at which I have already glanced, is their connection with the language itself, which has been their organ. If they are in great measure the creatures of their times, they are on the other hand in a far higher sense the creators of their language. It is indeed commonly called their mother tongue, but virtually it did not exist till they gave it life and form. All greater matters are carried on and perfected by a succession of individual minds; what is true in the history of thought and of action is true of language also. Certain masters of composition, as Shakespeare, Milton, and Pope, the writers of the Protestant Bible and Prayer Book, Hooker and Addison, Swift, Hume, and Goldsmith, have been the making of the English language; and as that language is a fact, so is the literature a fact, by which it is formed, and in which it lives. Men of great ability have taken it in hand, each in his own day, and have done for it what the master of a gymnasium does for the bodily frame. They have formed its limbs, and developed its strength; they have endowed it with vigour, exercised it in suppleness and dexterity, and taught it grace. They have made it rich, harmonious, various, and precise. They have furnished it with a variety of styles, which from their individuality may almost be called dialects, and are monuments both of the powers of the language and the genius of its cultivators.

How real a creation, how sui generis, is the style of Shakespeare, or of the Protestant Bible and Prayer Book, or of Swift, or of Pope, or of Gibbon, or of Johnson! Even were the subject-matter without meaning, though in truth the style cannot really be abstracted from the sense, still the style would, on that supposition, remain as perfect and original a work as Euclid's elements or a symphony of Beethoven. And, like music, it has seized upon the public mind; and the literature of England is no longer a mere letter, printed in books, and shut up in libraries, but it is a living voice, which has gone forth in its expressions and its sentiments into the world of men, which daily thrills upon our ears and syllables our thoughts, which speaks to us through our correspondents, and dictates when we put pen to paper. Whether we will or no, the phraseology and diction of Shakespeare, of the Protestant formularies, of Milton, of Pope, of Johnson's Tabletalk, and of Walter Scott, have become a portion of the vernacular tongue, the household words, of which perhaps we little guess the origin, and the very idioms of our familiar conversation. The man in the comedy spoke prose without knowing it; and we Catholics, without consciousness and without offence, are ever repeating the half sentences of dissolute playwrights and heretical partizans and preachers. So tyrannous is the literature of a nation; it is too much for us. We cannot destroy or reverse it; we may confront and encounter it, but we cannot make it over again. It is a great work of man, when it is no work of God's.

I repeat, then, whatever we be able or unable to effect in the great problem which lies before us, any how we cannot undo the past. English Literature will ever have been Protestant. Swift and Addison, the most native and natural of our writers, Hooker and Milton, the most elaborate, never can become our co-religionists; and, though this is but the enunciation of a truism, it is not on that account an unprofitable enunciation.

4.

I trust we are not the men to give up an undertaking because it is perplexed or arduous; and to do nothing because we cannot do everything. Much may be attempted, much attained, even granting English Literature is not Catholic. Something indeed may be said even in alleviation of the misfortune itself, on which I have been insisting; and with two remarks bearing upon this latter point I will bring this Section to an end.

1. First, then, it is to be considered that, whether we look to countries Christian or heathen, we find the state of literature there as little satisfactory as it is in these islands; so that, whatever are our difficulties here, they are not worse than those of Catholics all over the world. I would not indeed say a word to extenuate the calamity, under which we lie, of having a literature formed in Protestantism; still, other literatures have disadvantages of their own; and, though in such matters comparisons are impossible, I doubt whether we should be better pleased if our English Classics were tainted with licentiousness, or defaced by infidelity or scepticism. I conceive we should not much mend matters if we were to exchange literatures with the French, Italians, or Germans. About Germany, however, I will not speak; as to France, it has great and religious authors; its classical drama, even in comedy, compared with that of other literatures, is singularly unexceptionable; but who is there that holds a place among its writers so historical and important, who is so copious, so versatile, so brilliant, as that Voltaire who is an open scoffer at every thing sacred, venerable, or high-minded? Nor can Rousseau, though he has not the pretensions of Voltaire, be excluded from the classical writers of France. Again, the gifted Pascal, in the work on which his literary fame is mainly founded, does not approve himself to a Catholic judgment; and Descartes, the first of French philosophers, was too independent in his inquiries to be always correct in his conclusions. The witty Rabelais is said, by a recent critic,(38) to show covertly in his former publications, and openly in his latter, his "dislike to the Church of Rome." La Fontaine was with difficulty brought, on his death-bed, to make public satisfaction for the scandal which he had done to religion by his immoral Contes, though at length he threw into the fire a piece which he had just finished for the stage. Montaigne, whose Essays "make an epoch in literature," by "their influence upon the tastes and opinions of Europe;" whose "school embraces a large proportion of French and English literature;" and of whose "brightness and felicity of genius there can be but one opinion," is disgraced, as the same writer tells us, by "a sceptical bias and great indifference of temperament;" and "has led the way" as an habitual offender, "to the indecency too characteristic of French literature."

Nor does Italy present a more encouraging picture. Ariosto, one of the few names, ancient or modern, who is allowed on all hands to occupy the first rank of Literature, is, I suppose, rightly arraigned by the author I have above quoted, of "coarse sensuality." Pulci, "by his sceptical insinuations, seems clearly to display an intention of exposing religion to contempt." Boccaccio, the first of Italian prose-writers, had in his old age touchingly to lament the corrupting tendency of his popular compositions; and Bellarmine has to vindicate him, Dante, and Petrarch, from the charge of virulent abuse of the Holy See. Dante certainly does not scruple to place in his Inferno a Pope, whom the Church has since canonized, and his work on Monarchia is on the Index. Another great Florentine, Macchiavel, is on the Index also; and Giannone, as great in political history at Naples as Macchiavel at Florence, is notorious for his disaffection to the interests of the Roman Pontiff.

These are but specimens of the general character of secular literature, whatever be the people to whom it belongs. One literature may be better than another, but bad will be the best, when weighed in the balance of truth and morality. It cannot be otherwise; human nature is in all ages and all countries the same; and its literature, therefore, will ever and everywhere be one and the same also. Man's work will savour of man; in his elements and powers excellent and admirable, but prone to disorder and excess, to error and to sin. Such too will be his literature; it will have the beauty and the fierceness, the sweetness and the rankness, of the natural man, and, with all its richness and greatness, will necessarily offend the senses of those who, in the Apostle's words, are really "exercised to discern between good and evil." "It is said of the holy Sturme," says an Oxford writer, "that, in passing a horde of unconverted Germans, as they were bathing and gambolling in the stream, he was so overpowered by the intolerable scent which arose from them that he nearly fainted away." National Literature is, in a parallel way, the untutored movements of the reason, imagination, passions, and affections of the natural man, the leapings and the friskings, the plungings and the snortings, the sportings and the buffoonings, the clumsy play and the aimless toil, of the noble, lawless savage of God's intellectual creation.

It is well that we should clearly apprehend a truth so simple and elementary as this, and not expect from the nature of man, or the literature of the world, what they never held out to us. Certainly, I did not know that the world was to be regarded as favourable to Christian faith or practice, or that it would be breaking any engagement with us, if it took a line divergent from our own. I have never fancied that we should have reasonable ground for surprise or complaint, though man's intellect puris naturalibus did prefer, of the two, liberty to truth, or though his heart cherished a leaning towards licence of thought and speech in comparison with restraint.

5.

2. If we do but resign ourselves to facts, we shall soon be led on to the second reflection which I have promised—viz., that, not only are things not better abroad, but they might be worse at home. We have, it is true, a Protestant literature; but then it is neither atheistical nor immoral; and, in the case of at least half a dozen of its highest and most influential departments, and of the most popular of its authors, it comes to us with very considerable alleviations. For instance, there surely is a call on us for thankfulness that the most illustrious amongst English writers has so little of a Protestant about him that Catholics have been able, without extravagance, to claim him as their own, and that enemies to our creed have allowed that he is only not a Catholic, because, and as far as, his times forbade it. It is an additional satisfaction to be able to boast that he offends in neither of those two respects, which reflect so seriously upon the reputation of great authors abroad. Whatever passages may be gleaned from his dramas disrespectful to ecclesiastical authority, still these are but passages; on the other hand, there is in Shakespeare neither contempt of religion nor scepticism, and he upholds the broad laws of moral and divine truth with the consistency and severity of an AEschylus, Sophocles, or Pindar. There is no mistaking in his works on which side lies the right; Satan is not made a hero, nor Cain a victim, but pride is pride, and vice is vice, and, whatever indulgence he may allow himself in light thoughts or unseemly words, yet his admiration is reserved for sanctity and truth. From the second chief fault of Literature, as indeed my last words imply, he is not so free; but, often as he may offend against modesty, he is clear of a worse charge, sensuality, and hardly a passage can be instanced in all that he has written to seduce the imagination or to excite the passions.

A rival to Shakespeare, if not in genius, at least in copiousness and variety, is found in Pope; and he was actually a Catholic, though personally an unsatisfactory one. His freedom indeed from Protestantism is but a poor compensation for a false theory of religion in one of his poems; but, taking his works as a whole, we may surely acquit them of being dangerous to the reader, whether on the score of morals or of faith.

Again, the special title of moralist in English Literature is accorded by the public voice to Johnson, whose bias towards Catholicity is well known.

If we were to ask for a report of our philosophers, the investigation would not be so agreeable; for we have three of evil, and one of unsatisfactory repute. Locke is scarcely an honour to us in the standard of truth, grave and manly as he is; and Hobbes, Hume, and Bentham, in spite of their abilities, are simply a disgrace. Yet, even in this department, we find some compensation in the names of Clarke, Berkeley, Butler, and Reid, and in a name more famous than them all. Bacon was too intellectually great to hate or to contemn the Catholic faith; and he deserves by his writings to be called the most orthodox of Protestant philosophers.



4.

In its relation to the Literature of the Day.

1.

The past cannot be undone. That our English Classical Literature is not Catholic is a plain fact which we cannot deny, to which we must reconcile ourselves, as best we may, and which, as I have shown above, has after all its compensations. When, then, I speak of the desirableness of forming a Catholic Literature, I am contemplating no such vain enterprise as that of reversing history; no, nor of redeeming the past by the future. I have no dream of Catholic Classics as still reserved for the English language. In truth, classical authors not only are national, but belong to a particular age of a nation's life; and I should not wonder if, as regards ourselves, that age is passing away. Moreover, they perform a particular office towards its language, which is not likely to be called for beyond a definite time. And further, though analogies or parallels cannot be taken to decide a question of this nature, such is the fact, that the series of our classical writers has already extended through a longer period than was granted to the Classical Literature either of Greece or of Rome; and thus the English language also may have a long course of literature still to come through many centuries, without that Literature being classical.

Latin, for instance, was a living language for many hundred years after the date of the writers who brought it to its perfection; and then it continued for a second long period to be the medium of European correspondence. Greek was a living language to a date not very far short of that of the taking of Constantinople, ten centuries after the date of St. Basil, and seventeen hundred years after the period commonly called classical. And thus, as the year has its spring and summer, so even for those celebrated languages there was but a season of splendour, and, compared with the whole course of their duration, but a brief season. Since, then, English has had its great writers for a term of about three hundred years,—as long, that is, as the period from Sappho to Demosthenes, or from Pisistratus to Arcesilas, or from AEschylus and Pindar to Carneades, or from Ennius to Pliny,—we should have no right to be disappointed if the classical period be close upon its termination.

By the Classics of a national Literature I mean those authors who have the foremost place in exemplifying the powers and conducting the development of its language. The language of a nation is at first rude and clumsy; and it demands a succession of skilful artists to make it malleable and ductile, and to work it up to its proper perfection. It improves by use, but it is not every one who can use it while as yet it is unformed. To do this is an effort of genius; and so men of a peculiar talent arise, one after another, according to the circumstances of the times, and accomplish it. One gives it flexibility, that is, shows how it can be used without difficulty to express adequately a variety of thoughts and feelings in their nicety or intricacy; another makes it perspicuous or forcible; a third adds to its vocabulary; and a fourth gives it grace and harmony. The style of each of such eminent masters becomes henceforth in some sort a property of the language itself; words, phrases, collocations, and structure, which hitherto did not exist, gradually passing into the conversation and the composition of the educated classes.

2.

Now I will attempt to show how this process of improvement is effected, and what is its limit. I conceive then that these gifted writers act upon the spoken and written language by means of the particular schools which form about them respectively. Their style, using the word in a large sense, forcibly arrests the reader, and draws him on to imitate it, by virtue of what is excellent in it, in spite of such defects as, in common with all human works, it may contain. I suppose all of us will recognize this fascination. For myself when I was fourteen or fifteen, I imitated Addison; when I was seventeen, I wrote in the style of Johnson; about the same time I fell in with the twelfth volume of Gibbon, and my ears rang with the cadence of his sentences, and I dreamed of it for a night or two. Then I began to make an analysis of Thucydides in Gibbon's style. In like manner, most Oxford undergraduates, forty years ago, when they would write poetry, adopted the versification of Pope Darwin, and the Pleasures of Hope, which had been made popular by Heber and Milman. The literary schools, indeed, which I am speaking of, as resulting from the attractions of some original, or at least novel artist, consist for the most part of mannerists, none of whom rise much above mediocrity; but they are not the less serviceable as channels, by means of which the achievements of genius may be incorporated into the language itself, or become the common property of the nation. Henceforth, the most ordinary composer, the very student in the lecture-room, is able to write with a precision, a grace, or a copiousness, as the case may be unknown before the date of the authors whom he imitates, and he wonders at, if he does not rather pride himself on, his

novas frondes, et non sua poma.

If there is any one who illustrates this remark, it is Gibbon; I seem to trace his vigorous condensation and peculiar rhythm at every turn in the literature of the present day. Pope, again, is said to have tuned our versification. Since his time, any one, who has an ear and turn for poetry, can with little pains throw off a copy of verses equal or superior to the poet's own, and with far less of study and patient correction than would have been demanded of the poet himself for their production. Compare the choruses of the Samson Agonistes with any stanza taken at random in Thalaba: how much had the language gained in the interval between them! Without denying the high merits of Southey's beautiful romance, we surely shall not be wrong in saying, that in its unembarrassed eloquent flow, it is the language of the nineteenth century that speaks, as much as the author himself.

I will give an instance of what I mean: let us take the beginning of the first chorus in the Samson:—

Just are the ways of God. And justifiable to men; Unless there be who think not God at all; If any be, they walk obscure, For of such doctrine never was there school, But the heart of the fool, And no man therein doctor but himself. But men there be, who doubt His ways not just, As to His own edicts found contradicting, Then give the reins to wandering thought, Regardless of His glory's diminution; Till, by their own perplexities involved, They ravel more, still less resolved, But never find self-satisfying solution.

And now take the opening stanza of Thalaba:—

How beautiful is night A dewy freshness fills the silent air; No mist obscures, nor cloud, nor speck, nor stain, Breaks the serene of heaven. In full-orb'd glory yonder Moon divine Rolls through the dark blue depths. Beneath her steady ray The desert circle spreads, Like the round ocean girdled with the sky. How beautiful is night!

Does not Southey show to advantage here? yet the voice of the world proclaims Milton pre-eminently a poet; and no one can affect a doubt of the delicacy and exactness of his ear. Yet, much as he did for the language in verse and in prose, he left much for other artists to do after him, which they have successfully accomplished. We see the fruit of the literary labours of Pope, Thomson, Gray, Goldsmith, and other poets of the eighteenth century, in the musical eloquence of Southey.

3.

So much for the process; now for its termination. I think it is brought about in some such way as the following:—

The influence of a great classic upon the nation which he represents is twofold; on the one hand he advances his native language towards its perfection; but on the other hand he discourages in some measure any advance beyond his own. Thus, in the parallel case of science, it is commonly said on the continent, that the very marvellousness of Newton's powers was the bane of English mathematics: inasmuch as those who succeeded him were content with his discoveries, bigoted to his methods of investigation, and averse to those new instruments which have carried on the French to such brilliant and successful results. In Literature, also, there is something oppressive in the authority of a great writer, and something of tyranny in the use to which his admirers put his name. The school which he forms would fain monopolize the language, draws up canons of criticism from his writings, and is intolerant of innovation. Those who come under its influence are dissuaded or deterred from striking out a path of their own. Thus Virgil's transcendent excellence fixed the character of the hexameter in subsequent poetry, and took away the chances, if not of improvement, at least of variety. Even Juvenal has much of Virgil in the structure of his verse. I have known those who prefer the rhythm of Catullus.

However, so summary a result is not of necessary occurrence. The splendour of an author may excite a generous emulation, or the tyrannous formalism of his followers a re-action; and thus other authors and other schools arise. We read of Thucydides, on hearing Herodotus read his history at Olympia, being incited to attempt a similar work, though of an entirely different and of an original structure. Gibbon, in like manner, writing of Hume and Robertson, says: "The perfect composition, the nervous language, the well-turned periods of Dr. Robertson, inflamed me to the ambitious hope that I might one day tread in his footsteps; the calm philosophy, the careless inimitable beauties of his friend and rival, often forced me to close the volume with a mixed sensation of delight and despair."(39)

As to re-actions, I suppose there has been something of the kind against the supremacy of Pope, since the time that his successors, Campbell especially, have developed his peculiarities and even defects into extravagance. Crabbe, for instance, turned back to a versification having much more of Dryden in it; and Byron, in spite of his high opinion of Pope, threw into his lines the rhythm of blank verse. Still, on the whole, the influence of a Classic acts in the way of discouraging any thing new, rather than in that of exciting rivalry or provoking re-action.

And another consideration is to be taken into account. When a language has been cultivated in any particular department of thought, and so far as it has been generally perfected, an existing want has been supplied, and there is no need for further workmen. In its earlier times, while it is yet unformed, to write in it at all is almost a work of genius. It is like crossing a country before roads are made communicating between place and place. The authors of that age deserve to be Classics, both because of what they do and because they can do it. It requires the courage or the force of great talent to compose in the language at all; and the composition, when effected, makes a permanent impression on it. In those early times, too, the licence of speech unfettered by precedents, the novelty of the work, the state of society, and the absence of criticism, enable an author to write with spirit and freshness. But, as centuries pass on, this stimulus is taken away; the language by this time has become manageable for its various purposes, and is ready at command. Ideas have found their corresponding expressions; and one word will often convey what once required half a dozen. Roots have been expanded, derivations multiplied, terms invented or adopted. A variety of phrases has been provided, which form a sort of compound words. Separate professions, pursuits, and provinces of literature have gained their conventional terminology. There is an historical, political, social, commercial style. The ear of the nation has become accustomed to useful expressions or combinations of words, which otherwise would sound harsh. Strange metaphors have been naturalized in the ordinary prose, yet cannot be taken as precedents for a similar liberty. Criticism has become an art, and exercises a continual and jealous watch over the free genius of new writers. It is difficult for them to be original in the use of their mother tongue without being singular.

Thus the language has become in a great measure stereotype; as in the case of the human frame, it has expanded to the loss of its elasticity, and can expand no more. Then the general style of educated men, formed by the accumulated improvements of centuries, is far superior perhaps in perfectness to that of any one of those national Classics, who have taught their countrymen to write more clearly, or more elegantly, or more forcibly than themselves. And literary men submit themselves to what they find so well provided for them; or, if impatient of conventionalities, and resolved to shake off a yoke which tames them down to the loss of individuality, they adopt no half measures, but indulge in novelties which offend against the genius of the language, and the true canons of taste. Political causes may co-operate in a revolt of this kind; and, as a nation declines in patriotism, so does its language in purity. It seems to me as if the sententious, epigrammatic style of writing, which set in with Seneca, and is seen at least as late as in the writings of St. Ambrose, is an attempt to escape from the simplicity of Caesar and the majestic elocution of Cicero; while Tertullian, with more of genius than good sense, relieves himself in the harsh originality of his provincial Latin.

There is another impediment, as time goes on, to the rise of fresh classics in any nation; and that is the effect which foreigners, or foreign literature, will exert upon it. It may happen that a certain language, like Greek, is adopted and used familiarly by educated men in other countries; or again, that educated men, to whom it is native, may abandon it for some other language, as the Romans of the second and third centuries wrote in Greek instead of Latin. The consequence will be, that the language in question will tend to lose its nationality—that is, its distinctive character; it will cease to be idiomatic in the sense in which it once was so; and whatever grace or propriety it may retain, it will be comparatively tame and spiritless; or, on the other hand, it will be corrupted by the admixture of foreign elements.

4.

Such, as I consider, being the fortunes of Classical Literature, viewed generally, I should never be surprised to find that, as regards this hemisphere, for I can prophesy nothing of America, we have well nigh seen the end of English Classics. Certainly, it is in no expectation of Catholics continuing the series here that I speak of the duty and necessity of their cultivating English literature. When I speak of the formation of a Catholic school of writers, I have respect principally to the matter of what is written, and to composition only so far forth as style is necessary to convey and to recommend the matter. I mean a literature which resembles the literature of the day. This is not a day for great writers, but for good writing, and a great deal of it. There never was a time when men wrote so much and so well, and that, without being of any great account themselves. While our literature in this day, especially the periodical, is rich and various, its language is elaborated to a perfection far beyond that of our Classics, by the jealous rivalry, the incessant practice, the mutual influence, of its many writers. In point of mere style, I suppose, many an article in the Times newspaper, or Edinburgh Review, is superior to a preface of Dryden's, or a Spectator, or a pamphlet of Swift's, or one of South's sermons.

Our writers write so well that there is little to choose between them. What they lack is that individuality, that earnestness, most personal yet most unconscious of self, which is the greatest charm of an author. The very form of the compositions of the day suggests to us their main deficiency. They are anonymous. So was it not in the literature of those nations which we consider the special standard of classical writing; so is it not with our own Classics. The Epic was sung by the voice of the living, present poet. The drama, in its very idea, is poetry in persons. Historians begin, "Herodotus, of Halicarnassus, publishes his researches;" or, "Thucydides, the Athenian, has composed an account of the war." Pindar is all through his odes a speaker. Plato, Xenophon, and Cicero, throw their philosophical dissertations into the form of a dialogue. Orators and preachers are by their very profession known persons, and the personal is laid down by the Philosopher of antiquity as the source of their greatest persuasiveness. Virgil and Horace are ever bringing into their poetry their own characters and tastes. Dante's poems furnish a series of events for the chronology of his times. Milton is frequent in allusions to his own history and circumstances. Even when Addison writes anonymously, he writes under a professed character, and that in a great measure his own; he writes in the first person. The "I" of the Spectator, and the "we" of the modern Review or Newspaper, are the respective symbols of the two ages in our literature. Catholics must do as their neighbours; they must be content to serve their generation, to promote the interests of religion, to recommend truth, and to edify their brethren to-day, though their names are to have little weight, and their works are not to last much beyond themselves.

5.

And now having shown what it is that a Catholic University does not think of doing, what it need not do, and what it cannot do, I might go on to trace out in detail what it is that it really might and will encourage and create. But, as such an investigation would neither be difficult to pursue, nor easy to terminate, I prefer to leave the subject at the preliminary point to which I have brought it.



Lecture IV.

Elementary Studies.

It has often been observed that, when the eyes of the infant first open upon the world, the reflected rays of light which strike them from the myriad of surrounding objects present to him no image, but a medley of colours and shadows. They do not form into a whole; they do not rise into foregrounds and melt into distances; they do not divide into groups; they do not coalesce into unities; they do not combine into persons; but each particular hue and tint stands by itself, wedged in amid a thousand others upon the vast and flat mosaic, having no intelligence, and conveying no story, any more than the wrong side of some rich tapestry. The little babe stretches out his arms and fingers, as if to grasp or to fathom the many-coloured vision; and thus he gradually learns the connexion of part with part, separates what moves from what is stationary, watches the coming and going of figures, masters the idea of shape and of perspective, calls in the information conveyed through the other senses to assist him in his mental process, and thus gradually converts a calidoscope into a picture. The first view was the more splendid, the second the more real; the former more poetical, the latter more philosophical. Alas! what are we doing all through life, both as a necessity and as a duty, but unlearning the world's poetry, and attaining to its prose! This is our education, as boys and as men, in the action of life, and in the closet or library; in our affections, in our aims, in our hopes, and in our memories. And in like manner it is the education of our intellect; I say, that one main portion of intellectual education, of the labours of both school and university, is to remove the original dimness of the mind's eye; to strengthen and perfect its vision; to enable it to look out into the world right forward, steadily and truly; to give the mind clearness, accuracy, precision; to enable it to use words aright, to understand what it says, to conceive justly what it thinks about, to abstract, compare, analyze, divide, define, and reason, correctly. There is a particular science which takes these matters in hand, and it is called logic; but it is not by logic, certainly not by logic alone, that the faculty I speak of is acquired. The infant does not learn to spell and read the hues upon his retina by any scientific rule; nor does the student learn accuracy of thought by any manual or treatise. The instruction given him, of whatever kind, if it be really instruction, is mainly, or at least pre-eminently, this,—a discipline in accuracy of mind.

Boys are always more or less inaccurate, and too many, or rather the majority, remain boys all their lives. When, for instance, I hear speakers at public meetings declaiming about "large and enlightened views," or about "freedom of conscience," or about "the Gospel," or any other popular subject of the day, I am far from denying that some among them know what they are talking about; but it would be satisfactory, in a particular case, to be sure of the fact; for it seems to me that those household words may stand in a man's mind for a something or other, very glorious indeed, but very misty, pretty much like the idea of "civilization" which floats before the mental vision of a Turk,—that is, if, when he interrupts his smoking to utter the word, he condescends to reflect whether it has any meaning at all. Again, a critic in a periodical dashes off, perhaps, his praises of a new work, as "talented, original, replete with intense interest, irresistible in argument, and, in the best sense of the word, a very readable book;"—can we really believe that he cares to attach any definite sense to the words of which he is so lavish? nay, that, if he had a habit of attaching sense to them, he could ever bring himself to so prodigal and wholesale an expenditure of them?

To a short-sighted person, colours run together and intermix, outlines disappear, blues and reds and yellows become russets or browns, the lamps or candles of an illumination spread into an unmeaning glare, or dissolve into a milky way. He takes up an eye-glass, and the mist clears up; every image stands out distinct, and the rays of light fall back upon their centres. It is this haziness of intellectual vision which is the malady of all classes of men by nature, of those who read and write and compose, quite as well as of those who cannot,—of all who have not had a really good education. Those who cannot either read or write may, nevertheless, be in the number of those who have remedied and got rid of it; those who can, are too often still under its power. It is an acquisition quite separate from miscellaneous information, or knowledge of books. This is a large subject, which might be pursued at great length, and of which here I shall but attempt one or two illustrations.



1.

Grammar.

1.

One of the subjects especially interesting to all persons who, from any point of view, as officials or as students, are regarding a University course, is that of the Entrance Examination. Now a principal subject introduced into this examination will be "the elements of Latin and Greek Grammar." "Grammar" in the middle ages was often used as almost synonymous with "literature," and a Grammarian was a "Professor literarum." This is the sense of the word in which a youth of an inaccurate mind delights. He rejoices to profess all the classics, and to learn none of them. On the other hand, by "Grammar" is now more commonly meant, as Johnson defines it, "the art of using words properly," and it "comprises four parts—Orthography, Etymology, Syntax, and Prosody." Grammar, in this sense, is the scientific analysis of language, and to be conversant with it, as regards a particular language, is to be able to understand the meaning and force of that language when thrown into sentences and paragraphs.

Thus the word is used when the "elements of Latin and Greek Grammar" are spoken of as subjects of our Entrance Examination; not, that is, the elements of Latin and Greek literature, as if a youth were intended to have a smattering of the classical writers in general, and were to be able to give an opinion about the eloquence of Demosthenes and Cicero, the value of Livy, or the existence of Homer; or need have read half a dozen Greek and Latin authors, and portions of a dozen others:—though of course it would be much to his credit if he had done so; only, such proficiency is not to be expected, and cannot be required, of him:—but we mean the structure and characteristics of the Latin and Greek languages, or an examination of his scholarship. That is, an examination in order to ascertain whether he knows Etymology and Syntax, the two principal departments of the science of language,—whether he understands how the separate portions of a sentence hang together, how they form a whole, how each has its own place in the government of it, what are the peculiarities of construction or the idiomatic expressions in it proper to the language in which it is written, what is the precise meaning of its terms, and what the history of their formation.

All this will be best arrived at by trying how far he can frame a possible, or analyze a given sentence. To translate an English sentence into Latin is to frame a sentence, and is the best test whether or not a student knows the difference of Latin from English construction; to construe and parse is to analyze a sentence, and is an evidence of the easier attainment of knowing what Latin construction is in itself. And this is the sense of the word "Grammar" which our inaccurate student detests, and this is the sense of the word which every sensible tutor will maintain. His maxim is, "a little, but well;" that is, really know what you say you know: know what you know and what you do not know; get one thing well before you go on to a second; try to ascertain what your words mean; when you read a sentence, picture it before your mind as a whole, take in the truth or information contained in it, express it in your own words, and, if it be important, commit it to the faithful memory. Again, compare one idea with another; adjust truths and facts; form them into one whole, or notice the obstacles which occur in doing so. This is the way to make progress; this is the way to arrive at results; not to swallow knowledge, but (according to the figure sometimes used) to masticate and digest it.

2.

To illustrate what I mean, I proceed to take an instance. I will draw the sketch of a candidate for entrance, deficient to a great extent. I shall put him below par, and not such as it is likely that a respectable school would turn out, with a view of clearly bringing before the reader, by the contrast, what a student ought not to be, or what is meant by inaccuracy. And, in order to simplify the case to the utmost, I shall take, as he will perceive as I proceed, one single word as a sort of text, and show how that one word, even by itself, affords matter for a sufficient examination of a youth in grammar, history, and geography. I set off thus:—

Tutor. Mr. Brown, I believe? sit down. Candidate. Yes.

T. What are the Latin and Greek books you propose to be examined in? C. Homer, Lucian, Demosthenes, Xenophon, Virgil, Horace, Statius, Juvenal, Cicero, Analecta, and Matthiae.

T. No; I mean what are the books I am to examine you in? C. is silent.

T. The two books, one Latin and one Greek: don't flurry yourself. C. Oh, … Xenophon and Virgil.

T. Xenophon and Virgil. Very well; what part of Xenophon? C. is silent.

T. What work of Xenophon? C. Xenophon.

T. Xenophon wrote many works. Do you know the names of any of them? C. I … Xenophon … Xenophon.

T. Is it the Anabasis you take up? C. (with surprise) O yes; the Anabasis.

T. Well, Xenophon's Anabasis; now what is the meaning of the word anabasis? C. is silent.

T. You know very well; take your time, and don't be alarmed. Anabasis means … C. An ascent.

T. Very right; it means an ascent. Now how comes it to mean an ascent? What is it derived from? C. It comes from … (a pause). Anabasis … it is the nominative.

T. Quite right: but what part of speech is it? C. A noun,—a noun substantive.

T. Very well; a noun substantive, now what is the verb that anabasis is derived from? C. is silent.

T. From the verb ἀναβαίνω, isn't it? from ἀναβαίνω. C. Yes.

T. Just so. Now, what does ἀναβαίνω mean? C. To go up, to ascend.

T. Very well; and which part of the word means to go, and which part up? C. ἀνά is up, and βαίνω go.

T. βαίνω to go, yes; now, βάσις? What does βάσις mean? C. A going.

T. That is right; and ἀνά-βασις? C. A going up.

T. Now what is a going down? C. is silent.

T. What is down? … Κατά … don't you recollect? Κατά. C. Κατά.

T. Well, then, what is a going down? Cat .. cat … C. Cat.…

T. Cata … C. Cata.…

T. Catabasis. C. Oh, of course, catabasis.

T. Now tell me what is the future of βαίνω? C. (thinks) βανῶ.

T. No, no; think again; you know better than that. C. (objects) Φαίνω, Φανῶ?

T. Certainly, Φανῶ is the future of Φαίνω; but βαίνω is, you know, an irregular verb. C. Oh, I recollect, βήσω.

T. Well, that is much better; but you are not quite right yet; βήσομαι. C. Oh, of course,.

T. βήσομαι. Now do you mean to say that βήσομαι comes from βαίνω? C. is silent.

T. For instance: τύψω comes from τύπτω by a change of letters; does βήσομαιin any similar way come from βαίνω? C. It is an irregular verb.

T. What do you mean by an irregular verb? does it form tenses anyhow and by caprice? C. It does not go according to the paradigm.

T. Yes, but how do you account for this? C. is silent.

T. Are its tenses formed from several roots? C. is silent. T. is silent; then he changes the subject.

T. Well, now you say Anabasis means an ascent. Who ascended? C. The Greeks, Xenophon.

T. Very well: Xenophon and the Greeks; the Greeks ascended. To what did they ascend? C. Against the Persian king: they ascended to fight the Persian king.

T. That is right … an ascent; but I thought we called it a descent when a foreign army carried war into a country? C. is silent.

T. Don't we talk of a descent of barbarians? C. Yes.

T. Why then are the Greeks said to go up? C. They went up to fight the Persian king.

T. Yes; but why up … why not down? C. They came down afterwards, when they retreated back to Greece.

T. Perfectly right; they did … but could you give no reason why they are said to go up to Persia, not down? C. They went up to Persia.

T. Why do you not say they went down? C. pauses, then … They went down to Persia.

T. You have misunderstood me.

A silence.

T. Why do you not say down? C. I do … down.

T. You have got confused; you know very well. C. I understood you to ask why I did not say "they went down."

A silence on both sides.

T. Have you come up to Dublin or down? C.I came up.

T. Why do you call it coming up? C. thinks, then smiles, then … We always call it coming up to Dublin.

T. Well, but you always have a reason for what you do … what is your reason here? C. is silent.

T. Come, come, Mr. Brown, I won't believe you don't know; I am sure you have a very good reason for saying you go up to Dublin, not down. C. thinks, then … It is the capital.

T. Very well; now was Persia the capital? C. Yes.

T. Well … no … not exactly … explain yourself; was Persia a city? C. A country.

T. That is right; well, but did you ever hear of Susa? Now, why did they speak of going up to Persia? C. is silent.

T. Because it was the seat of government; that was one reason. Persia was the seat of government; they went up because it was the seat of government. C. Because it was the seat of government.

T. Now where did they go up from? C. From Greece.

T. But where did this army assemble? whence did it set out? C. is silent.

T. It is mentioned in the first book; where did the troops rendezvous? C. is silent.

T. Open your book; now turn to Book I., chapter ii.; now tell me. C. Oh, at Sardis.

T. Very right: at Sardis; now where was Sardis? C. In Asia Minor?… no … it's an island … a pause, then … Sardinia.

T. In Asia Minor; the army set out from Asia Minor, and went on towards Persia; and therefore it is said to go up—because … C. is silent.

T. Because … Persia … C. Because Persia …

T. Of course; because Persia held a sovereignty over Asia Minor. C. Yes.

T. Now do you know how and when Persia came to conquer and gain possession of Asia Minor? C. is silent.

T. Was Persia in possession of many countries? C. is silent.

T. Was Persia at the head of an empire? C. is silent.

T. Who was Xerxes? C. Oh, Xerxes … yes … Xerxes; he invaded Greece; he flogged the sea.

T. Right; he flogged the sea: what sea? C. is silent.

T. Have you read any history of Persia?… what history? C. Grote, and Mitford.

T. Well, now, Mr. Brown, you can name some other reason why the Greeks spoke of going up to Persia? Do we talk of going up or down from the sea-coast? C. Up.

T. That is right; well, going from Asia Minor, would you go from the sea, or towards it? C. From.

T. What countries would you pass, going from the coast of Asia Minor to Persia? … mention any of them. C. is silent.

T. What do you mean by Asia Minor?… why called Minor?… how does it lie? C. is silent.

Etc., etc.

3.

I have drawn out this specimen at the risk of wearying the reader; but I have wished to bring out clearly what it really is which an Entrance Examination should aim at and require in its students. This young man had read the Anabasis, and had some general idea what the word meant; but he had no accurate knowledge how the word came to have its meaning, or of the history and geography implied in it. This being the case, it was useless, or rather hurtful, for a boy like him to amuse himself with running through Grote's many volumes, or to cast his eye over Matthiae's minute criticisms. Indeed, this seems to have been Mr. Brown's stumbling-block; he began by saying that he had read Demosthenes, Virgil, Juvenal, and I do not know how many other authors. Nothing is more common in an age like this, when books abound, than to fancy that the gratification of a love of reading is real study. Of course there are youths who shrink even from story books, and cannot be coaxed into getting through a tale of romance. Such Mr. Brown was not; but there are others, and I suppose he was in their number, who certainly have a taste for reading, but in whom it is little more than the result of mental restlessness and curiosity. Such minds cannot fix their gaze on one object for two seconds together; the very impulse which leads them to read at all, leads them to read on, and never to stay or hang over any one idea. The pleasurable excitement of reading what is new is their motive principle; and the imagination that they are doing something, and the boyish vanity which accompanies it, are their reward. Such youths often profess to like poetry, or to like history or biography; they are fond of lectures on certain of the physical sciences; or they may possibly have a real and true taste for natural history or other cognate subjects;—and so far they may be regarded with satisfaction; but on the other hand they profess that they do not like logic, they do not like algebra, they have no taste for mathematics; which only means that they do not like application, they do not like attention, they shrink from the effort and labour of thinking, and the process of true intellectual gymnastics. The consequence will be that, when they grow up, they may, if it so happen, be agreeable in conversation, they may be well informed in this or that department of knowledge, they may be what is called literary; but they will have no consistency, steadiness, or perseverance; they will not be able to make a telling speech, or to write a good letter, or to fling in debate a smart antagonist, unless so far as, now and then, mother-wit supplies a sudden capacity, which cannot be ordinarily counted on. They cannot state an argument or a question, or take a clear survey of a whole transaction, or give sensible and appropriate advice under difficulties, or do any of those things which inspire confidence and gain influence, which raise a man in life, and make him useful to his religion or his country.

* * * * *

And now, having instanced what I mean by the want of accuracy, and stated the results in which I think it issues, I proceed to sketch, by way of contrast, an examination which displays a student, who, whatever may be his proficiency, at least knows what he is about, and has tried to master what he has read. I am far from saying that every candidate for admission must come up to its standard:—

T. I think you have named Cicero's Letters ad Familiares, Mr. Black? Open, if you please, at Book xi., Epistle 29, and begin reading.

C. reads. Cicero Appio salutem. Dubitanti mihi (quod scit Atticus noster), de hoc toto consilio profectionis, quod in utramque partem in mentem multa veniebant, magnum pondus accessit ad tollendam dubitationem, judicium et consilium tuum. Nam et scripsisti aperte, quid tibi videretur; et Atticus ad me sermonem tuum pertulit. Semper judicavi, in te, et in capiendo consilio prudentiam summam esse, et in dando fidem; maximeque sum expertus, cum, initio civilis belli, per literas te consuluissem quid mihi faciendum esse censeres; eundumne ad Pompeium an manendum in Italia.

T. Very well, stop there; Now construe. C. Cicero Appio salutem.… Cicero greets Appius.

_T. _"_Greets Appius._"_ True; but it sounds stiff in English, doesn't it? What is the real English of it? _C._ "My _dear_ Appius?"…

T. That will do; go on. C. Dubitanti mihi, quod scit Atticus noster, While I was hesitating, as our friend Atticus knows.…

T. That is right. C. De hoc toto consilio profectionis, about the whole plan … entire project … de hoc toto consilio profectionis … on the subject of my proposed journey … on my proposed journey altogether.

T. Never mind; go on; any of them will do. C. Quod in utramque partem in mentem multa veniebant, inasmuch as many considerations both for and against it came into my mind, magnum pondus accessit ad tollendam dubitationem, it came with great force to remove my hesitation.

T. What do you mean by "accessit"? C. It means it contributed to turn the scale; accessit, it was an addition to one side.

T. Well, it may mean so, but the words run, ad tollendam dubitationem. C. It was a great … it was a powerful help towards removing my hesitation … no … this was a powerful help, viz., your judgment and advice.

T. Well, what is the construction of "pondus" and "judicium"? C. Your advice came as a great weight.

T. Very well, go on. C. Nam et scripsisti aperte quid tibi videretur; for you distinctly wrote your opinion.

T. Now, what is the force of "nam"? C. pauses; then, It refers to "accessit" … it is an explanation of the fact, that Appius's opinion was a help.

T. "Et"; you omitted "et" … "et scripsisti." C. It is one of two "ets"; et scripsisti, et Atticus.

T. Well, but why don't you construe it? C. Et scripsisti, you both distinctly.…

T. No; tell me, why did you leave it out? had you a reason? C. I thought it was only the Latin style, to dress the sentence, to make it antithetical; and was not English.

T. Very good, still, you can express it; try. C. Also, with the second clause?

T. That is right, go on. C. Nam et, for you distinctly stated in writing your opinion, et Atticus ad me sermonem tuum pertulit, and Aticus too sent me word of what you said,… of what you said to him in conversation.

T. "Pertulit." C. It means that Atticus conveyed on to Cicero the conversation he had with Appius.

T. Who was Atticus? C. is silent.

T. Who was Atticus? C. I didn't think it came into the examination.…

T. Well, I didn't say it did: but still you can tell me who Atticus was. C. A great friend of Cicero's.

T. Did he take much part in politics? C. No.

T. What were his opinions? C. He was an Epicurean.

T. What was an Epicurean? C. is silent, then, Epicureans lived for themselves.

T. You are answering very well, sir; proceed. C. Semper judicavi, I have ever considered, in te, et in capiendo consilio prudentiam summam esse, et in dando fidem; that your wisdom was of the highest order … that you had the greatest wisdom … that nothing could exceed the wisdom of your resolves, or the honesty of your advice.

T. "Fidem." C. It means faithfulness to the person asking … maximeque sum expertus, and I had a great proof of it.…

T. Great; why don't you say greatest? "maxime" is superlative. C. The Latins use the superlative, when they only mean the positive.

T. You mean, when English uses the positive; can you give me an instance of what you mean? C. Cicero always speaks of others as amplissimi, optimi, doctissimi, clarissimi.

T. Do they ever use the comparative for the positive? C. thinks, then, Certior factus sum.

T. Well, perhaps; however, here, "maxime" may mean special, may it not? C. And I had a special proof of it, cum, initio civilis belli, per literas te consuluissem, when, on the commencement of the civil war, I had written to ask your advice, quid mihi faciendum esse censeres, what you thought I ought to do, eundumne ad Pompeium, an manendum in Italia, to go to Pompey, or to remain in Italy.

T. Very well, now stop. Dubitanti mini, quod scit Atticus noster. You construed quod, as. C. I meant the relative as.

T. Is as a relative? C. As is used in English for the relative, as when we say such as for those who.

T. Well, but why do you use it here? What is the antecedent to "quod"? C. The sentence Dubitanti mihi, etc.

T. Still, construe "quod" literally. C. A thing which.

T. Where is a thing? C. It is understood.

T. Well, but put it in. C. Illud quod.

T. Is that right? what is the common phrase? C. is silent.

T. Did you ever see "illud quod" in that position? is it the phrase? C. is silent.

T. It is commonly "id quod," isn't it? id quod. C. Oh, I recollect, id quod.

T. Well, which is more common, "quod," or "id quod," when the sentence is the antecedent? C. I think "id quod."

T. At least it is far more distinct; yes, I think it is more common. What could you put instead of it? C. Quod quidem.

T. Now, dubitanti mihi; what is "mihi" governed by? C. Accessit.

T. No; hardly. C. is silent.

T. Does "accessit" govern the dative? C. I thought it did.

T. Well, it may; but would Cicero use the dative after it? what is the more common practice with words of motion? Do you say, Venit mihi, he came to me? C. No, Venit ad me;—I recollect.

T. That is right; venit ad me. Now, for instance, "incumbo:" what case does "incumbo" govern? C. Incumbite remis?

T. Where is that? in Cicero? C. No, in Virgil. Cicero uses "in"; I recollect, incumbere in opus … ad opus.

T. Well, then, is this "mihi" governed by "accessit"? what comes after accessit? C. I see; it is, accessit ad tollendam dubitationem.

T. That is right; but then, what after all do you do with "mihi"? how is it governed? C. is silent.

T. How is "mihi" governed, if it does not come after "accessit"? C. pauses, then, "Mihi" … "mihi" is often used so; and "tibi" and "sibi": I mean "suo sibi gladio hunc jugulo"; … "venit mihi in mentem"; that is, it came into my mind; and so, "accessit mihi ad tollendam," etc.

T. That is very right. C. I recollect somewhere in Horace, vellunt tibi barbam.

Etc., etc.

4.

And now, my patient reader, I suspect you have had enough of me on this subject; and the best I can expect from you is, that you will say: "His first pages had some amusement in them, but he is dullish towards the end." Perhaps so; but then you must kindly bear in mind that the latter part is about a steady careful youth, and the earlier part is not; and that goodness, exactness, and diligence, and the correct and the unexceptionable, though vastly more desirable than their contraries in fact, are not near so entertaining in fiction.



2.

Composition.

1.

I am able to present the reader by anticipation with the correspondence which will pass between Mr. Brown's father and Mr. White, the tutor, on the subject of Mr. Brown's examination for entrance at the University. And, in doing so, let me state the reason why I dwell on what many will think an extreme case, or even a caricature. I do so, because what may be called exaggeration is often the best means of bringing out certain faults of the mind which do indeed exist commonly, if not in that degree. If a master in carriage and deportment wishes to carry home to one of his boys that he slouches, he will caricature the boy himself, by way of impressing on the boy's intellect a sort of abstract and typical representation of the ungraceful habit which he wishes corrected. When we once have the simple and perfect ideas of things in our minds, we refer the particular and partial manifestations of them to these types; we recognize what they are, good or bad, as we never did before, and we have a guide set up within us to direct our course by. So it is with principles of taste, good breeding, or of conventional fashion; so it is in the fine arts, in painting, or in music. We cannot even understand the criticism passed on these subjects until we have set up for ourselves the ideal standard of what is admirable and what is absurd.

So is it with the cultivation and discipline of the mind, it a handsomer place than I thought for—really a respectable town. But it is sadly behind the world in many things. Think of its having no Social Science, not even a National Gallery or British Museum! nor have they any high art here: some good public buildings, but very pagan. The bay is a fine thing.

"I called with your letter on Mr. Black, who introduced me to the professors, some of whom, judging by their skulls, are clever men.

"There is a lot here for examination, and an Exhibition is to be given to the best. I should like to get it. Young Black,—you saw him once,—is one of them; I knew him at school; he is a large fellow now, though younger than I am. If he be the best of them, I shall not be much afraid.

"Well—in I went yesterday, and was examined. It was such a queer concern. One of the junior Tutors had me up, and he must be a new hand, he was so uneasy. He gave me the slowest examination! I don't know to this minute what he was at. He first said a word or two, and then was silent. He then asked me why we came up to Dublin, and did not go down; and put some absurd little questions about βαίνω. I was tolerably satisfied with myself, but he gave me no opportunity to show off. He asked me literally nothing; he did not even give me a passage to construe for a long time, and then gave me nothing more than two or three easy sentences. And he kept playing with his paper knife, and saying: 'How are you now, Mr. Brown? don't be alarmed, Mr. Brown; take your time, Mr. Brown; you know very well, Mr. Brown;' so that I could hardly help laughing. I never was less afraid in my life. It would be wonderful if such an examination could put me out of countenance.

"There's a lot of things which I know very well, which the Examiner said not a word about. Indeed, I think I have been getting up a great many things for nothing;—provoking enough. I had read a good deal of Grote; but though I told him so, he did not ask me one question in it; and there's Whewell, Macaulay, and Schlegel, all thrown away.

"He has not said a word yet where I am to be lodged. He looked quite confused when I asked him. He is, I suspect, a character.

"Your dutiful son, etc.,

"ROBERT."

Mr. White to Mr. Brown, sen.

"MY DEAR SIR,

"I have to acknowledge the kind letter you sent me by your son, and I am much pleased to find the confidence you express in us. Your son seems an amiable young man, of studious habits, and there is every hope, when he joins us, of his passing his academical career with respectability, and his examination with credit. This is what I should have expected from his telling me that he had been educated at home under your own paternal eye; indeed, if I do not mistake, you have undertaken the interesting office of instructor yourself.

"I hardly know what best to recommend to him at the moment: his reading has been desultory; he knows something about a great many things, of which youths of his age commonly know nothing. Of course we could take him into residence now, if you urge it; but my advice is that he should first direct his efforts to distinct preparation for our examination, and to study its particular character. Our rule is to recommend youths to do a little well, instead of throwing themselves upon a large field of study. I conceive it to be your son's fault of mind not to see exactly the point of things, nor to be so well grounded as he might be. Young men are indeed always wanting in accuracy; this kind of deficiency is not peculiar to him, and he will doubtless soon overcome it when he sets about it.

"On the whole, then, if you will kindly send him up six months hence he will be more able to profit by our lectures. I will tell him what to read in the meanwhile. Did it depend on me, I should send him for that time to a good school or college, or I could find you a private Tutor for him.

"I am, etc."

Mr. Brown, sen., to Mr. White.

"SIR,

"Your letter, which I have received by this morning's post, is gratifying to a parent's feelings, so far as it bears witness to the impression which my son's amiableness and steadiness have made on you. He is indeed a most exemplary lad: fathers are partial, and their word about their children is commonly not to be taken; but I flatter myself that the present case is an exception to the rule; for, if ever there was a well-conducted youth, it is my dear son. He is certainly very clever; and a closer student, and, for his age, of more extensive reading and sounder judgment, does not exist.

"With this conviction, you will excuse me if I say that there were portions of your letter which I could not reconcile with that part of it to which I have been alluding. You say he is 'a young man of studious habits,' having 'every hope of passing his academical career with respectability, and his examination with credit;' you allow that 'he knows something about a great many things, of which youths of his age commonly know nothing:' no common commendation, I consider; yet, in spite of this, you recommend, though you do not exact, as a complete disarrangement of my plans (for I do not know how long my duties will keep me in Ireland), a postponement of his coming into residence for six months.

"Will you allow me to suggest an explanation of this inconsistency? It is found in your confession that the examination is of a 'particular character.' Of course it is very right in the governors of a great Institution to be 'particular,' and it is not for me to argue with them. Nevertheless, I cannot help saying, that at this day nothing is so much wanted in education as general knowledge. This alone will fit a youth for the world. In a less stirring time, it may be well enough to delay in particularities, and to trifle over minutiae; but the world will not stand still for us, and, unless we are up to its requisitions, we shall find ourselves thrown out of the contest. A man must have something in him now, to make his way; and the sooner we understand this, the better.

"It mortified me, I confess, to hear from my son, that you did not try him in a greater number of subjects, in handling which he would probably have changed your opinion of him. He has a good memory, and a great talent for history, ancient and modern, especially constitutional and parliamentary; another favourite study with him is the philosophy of history. He has read Pritchard's Physical History, Cardinal Wiseman's Lectures on Science, Bacon's Advancement of Learning, Macaulay, and Hallam: I never met with a faster reader. I have let him attend, in England, some of the most talented lecturers in chemistry, geology, and comparative anatomy, and he sees the Quarterly Reviews and the best Magazines, as a matter of course. Yet on these matters not a word of examination!