Miscellaneous Writings and Speeches — Volume 2. Томас Бабингтон Маколей
is still wanting. A man might have all those qualities, and every other quality which the most minute examiner can introduce into his catalogue of the virtues and faults of Hotspur, and yet he would not be Hotspur. Almost everything that we have said of him applies equally to Falconbridge. Yet in the mouth of Falconbridge most of his speeches would seem out of place. In real life this perpetually occurs. We are sensible of wide differences between men whom, if we were required to describe them, we should describe in almost the same terms. If we were attempting to draw elaborate characters of them, we should scarcely be able to point out any strong distinction; yet we approach them with feelings altogether dissimilar. We cannot conceive of them as using the expressions or the gestures of each other. Let us suppose that a zoologist should attempt to give an account of some animal, a porcupine for instance, to people who had never seen it. The porcupine, he might say, is of the class mammalia, and the order glires. There are whiskers on its face; it is two feet long; it has four toes before, five behind, two fore teeth, and eight grinders. Its body is covered with hair and quills. And, when all this has been said, would any one of the auditors have formed a just idea of a porcupine? Would any two of them have formed the same idea? There might exist innumerable races of animals, possessing all the characteristics which have been mentioned yet altogether unlike to each other. What the description of our naturalist is to a real porcupine, the remarks of criticism are to the images of poetry. What it so imperfectly decomposes it cannot perfectly reconstruct. It is evidently as impossible to produce an Othello or a Macbeth by reversing an analytical process so defective, as it would be for an anatomist to form a living man out of the fragments of his dissecting-room. In both cases the vital principle eludes the finest instruments, and vanishes in the very instant in which its seat is touched. Hence those who, trusting to their critical skill, attempt to write poems give us, not images of things, but catalogues of qualities. Their characters are allegories—not good men and bad men, but cardinal virtues and deadly sins. We seem to have fallen among the acquaintances of our old friend Christian: sometimes we meet Mistrust and Timorous; sometimes Mr Hate-good and Mr Love-lust; and then again Prudence, Piety and Charity.
That critical discernment is not sufficient to make men poets, is generally allowed. Why it should keep them from becoming poets, is not perhaps equally evident; but the fact is, that poetry requires not an examining but a believing frame of mind. Those feel it most, and write it best, who forget that it is a work of art; to whom its imitations, like the realities from which they are taken, are subjects, not for connoisseurship, but for tears and laughter, resentment and affection; who are too much under the influence of the illusion to admire the genius which has produced it; who are too much frightened for Ulysses in the cave of Polyphemus to care whether the pun about Outis be good or bad; who forget that such a person as Shakspeare ever existed, while they weep and curse with Lear. It is by giving faith to the creations of the imagination that a man becomes a poet. It is by treating those creations as deceptions, and by resolving them, as nearly as possible, into their elements, that he becomes a critic. In the moment in which the skill of the artist is perceived, the spell of the art is broken.
These considerations account for the absurdities into which the greatest writers have fallen, when they have attempted to give general rules for composition, or to pronounce judgment on the works of others. They are unaccustomed to analyse what they feel; they, therefore, perpetually refer their emotions to causes which have not in the slightest degree tended to produce them. They feel pleasure in reading a book. They never consider that this pleasure may be the effect of ideas which some unmeaning expression, striking on the first link of a chain of associations, may have called up in their own minds—that they have themselves furnished to the author the beauties which they admire.
Cervantes is the delight of all classes of readers. Every school-boy thumbs to pieces the most wretched translations of his romance, and knows the lantern jaws of the Knight Errant, and the broad cheeks of the Squire, as well as the faces of his own playfellows. The most experienced and fastidious judges are amazed at the perfection of that art which extracts inextinguishable laughter from the greatest of human calamities without once violating the reverence due to it; at that discriminating delicacy of touch which makes a character exquisitely ridiculous, without impairing its worth, its grace, or its dignity. In Don Quixote are several dissertations on the principles of poetic and dramatic writing. No passages in the whole work exhibit stronger marks of labour and attention; and no passages in any work with which we are acquainted are more worthless and puerile. In our time they would scarcely obtain admittance into the literary department of the Morning Post. Every reader of the Divine Comedy must be struck by the veneration which Dante expresses for writers far inferior to himself. He will not lift up his eyes from the ground in the presence of Brunetto, all whose works are not worth the worst of his own hundred cantos. He does not venture to walk in the same line with the bombastic Statius. His admiration of Virgil is absolute idolatry. If, indeed, it had been excited by the elegant, splendid, and harmonious diction of the Roman poet, it would not have been altogether unreasonable; but it is rather as an authority on all points of philosophy, than as a work of imagination, that he values the Aeneid. The most trivial passages he regards as oracles of the highest authority, and of the most recondite meaning. He describes his conductor as the sea of all wisdom—the sun which heals every disordered sight. As he judged of Virgil, the Italians of the fourteenth century judged of him; they were proud of him; they praised him; they struck medals bearing his head; they quarrelled for the honour of possessing his remains; they maintained professors to expound his writings. But what they admired was not that mighty imagination which called a new world into existence, and made all its sights and sounds familiar to the eye and ear of the mind. They said little of those awful and lovely creations on which later critics delight to dwell—Farinata lifting his haughty and tranquil brow from his couch of everlasting fire—the lion-like repose of Sordello—or the light which shone from the celestial smile of Beatrice. They extolled their great poet for his smattering of ancient literature and history; for his logic and his divinity; for his absurd physics, and his most absurd metaphysics; for everything but that in which he pre-eminently excelled. Like the fool in the story, who ruined his dwelling by digging for gold, which, as he had dreamed, was concealed under its foundations, they laid waste one of the noblest works of human genius, by seeking in it for buried treasures of wisdom which existed only in their own wild reveries. The finest passages were little valued till they had been debased into some monstrous allegory. Louder applause was given to the lecture on fate and free-will, or to the ridiculous astronomical theories, than to those tremendous lines which disclose the secrets of the tower of hunger, or to that half-told tale of guilty love, so passionate and so full of tears.
We do not mean to say that the contemporaries of Dante read with less emotion than their descendants of Ugolino groping among the wasted corpses of his children, or of Francesca starting at the tremulous kiss and dropping the fatal volume. Far from it. We believe that they admired these things less than ourselves, but that they felt them more. We should perhaps say that they felt them too much to admire them. The progress of a nation from barbarism to civilisation produces a change similar to that which takes place during the progress of an individual from infancy to mature age. What man does not remember with regret the first time that he read Robinson Crusoe? Then, indeed, he was unable to appreciate the powers of the writer; or, rather, he neither knew nor cared whether the book had a writer at all. He probably thought it not half so fine as some rant of Macpherson about dark-browed Foldath, and white-bosomed Strinadona. He now values Fingal and Temora only as showing with how little evidence a story may be believed, and with how little merit a book may be popular. Of the romance of Defoe he entertains the highest opinion. He perceives the hand of a master in ten thousand touches which formerly he passed by without notice. But, though he understands the merits of the narrative better than formerly, he is far less interested by it. Xury, and Friday, and pretty Poll, the boat with the shoulder-of-mutton sail, and the canoe which could not be brought down to the water edge, the tent with its hedge and ladders, the preserve of kids, and the den where the old goat died, can never again be to him the realities which they were. The days when his favourite volume set him upon making wheel-barrows and chairs, upon digging caves and fencing huts in the garden, can never return. Such is the law of our nature. Our judgment ripens; our imagination decays. We cannot at once enjoy the flowers of the spring of life and the fruits of its autumn, the pleasures of close investigation and those of agreeable error. We cannot sit at once in the