The Posthumous Works of Thomas De Quincey, Vol. 2. Томас Де Квинси
longueurs. Could there be imagined a trinity of treasons against the true tone of social intercourse more appalling to a Parisian taste?
In a case such as this, where Coleridge was the performer, I myself enter less profoundly into the brilliant woman's horror, for the reason that, having originally a necessity almost morbid for the intellectual pleasures that depend on solitude, I am constitutionally more careless about the luxuries of conversation. I see them; like them in the rare cases where they flourish, but do not require them. Not sympathizing, therefore, with the lady's horror in its intensity, I yet find my judgment in harmony with hers. The evils of Coleridgean talk, even managed by a Coleridge, were there, and they fixed themselves continually on my observation:
I. It defeats the very end of social meetings. Without the excitement from a reasonable number of auditors, and some novelty in the composition of his audience, Coleridge was hardly able to talk his best. Now, at the end of some hours, it struck secretly on the good sense of the company. Was it reasonable to have assembled six, ten, or a dozen persons for the purpose of hearing a prelection? Would not the time have been turned to more account, even as regarded the object which they had substituted for social pleasure, in studying one of Coleridge's printed works?—since there his words were stationary and not flying, so that notes might be taken down, and questions proposed by way of letter, on any impenetrable difficulties; whereas in a stream of oral teaching, which ran like the stream of destiny, impassive to all attempts at interruption, difficulties for ever arose to irritate your nervous system at the moment, and to vex you permanently by the recollection that they had prompted a dozen questions, every one of which you had forgotten through the necessity of continuing to run alongside with the speaker, and through the impossibility of saying, 'Halt, Mr. Coleridge! Pull up, I beseech you, if it were but for two minutes, that I may try to fathom that last sentence.' This in all conversation is one great evil, viz., the substitution of an alien purpose for the natural and appropriate purpose. Not to be intellectual in a direct shape, but to be intellectual through sociality, is the legitimate object of a social meeting. It may be right, medically speaking, that a man should be shampooed; but it cannot be right that, having asked him to dine, you should decline dinner and substitute a shampooing. This a man would be apt to call by the shorter name of a sham.
II. It diminishes the power of the talking performer himself. Seeming to have more, the man has less. For a man is never thrown upon his mettle, nor are his true resources made known even to himself, until to some extent he finds himself resisted (or at least modified) by the reaction of those around him. That day, says Homer, robs a man of half his value which sees him made a slave. But to be an autocrat is as perilous as to be a slave. And supposing Homer to have been introduced to Coleridge (a supposition which a learned man at my elbow pronounces intolerable—'It's an anachronism, sir, a base anachronism!' Well, but one may suppose anything, however base), Homer would have observed to me, as we came away from the soirée, 'In my opinion, our splendid friend S. T. C. would have been the better for a few kicks on the shins. That day takes away half of a man's talking value which raises him into an irresponsible dictator to his company.'
III. It diminishes a man's power in another way less obvious, but not less certain. I had often occasion to remark how injurious it was to the impression of Coleridge's finest displays where the minds of the hearers had been long detained in a state of passiveness. To understand fully, to sympathise deeply, it was essential that they should react. Absolute inertia produced inevitable torpor. I am not supposing any indocility, or unwillingness to listen. Generally it might be said that merely to find themselves in that presence argued sufficiently in the hearers a cheerful dedication of themselves to a dutiful patience.
The mistake, in short, is to suppose that the particular power of talk Coleridge had was a nuance or modification of what is meant by conversational power; whereas it was the direct antithesis: it differed diametrically. So much as he had of his own peculiar power, so much more alien and remote was he from colloquial power. This remark should be introduced by observing that Madame de Staël's obvious criticism passes too little unvalued or unsearched either by herself or others. She fancied it an accidental inclination or a caprice, or a sort of self-will or discourtesy or inattention. No; it was a faculty in polar opposition to the true faculty of conversation.
Coleridge was copious, and not without great right, upon the subject of Art. It is a subject upon which we personally are very impatient, and (as Mrs. Quickly expresses it) peevish, as peevish as Rugby in his prayers.4 Is this because we know too much about Art? Oh, Lord bless you, no! We know too little about it by far, and our wish is—to know more. But that is difficult; so many are the teachers, who by accident had never any time to learn; so general is the dogmatism; and, worse than all, so inveterate is the hypocrisy, wherever the graces of liberal habits and association are supposed to be dependent upon a particular mode of knowledge. To know nothing of theology or medicine has a sort of credit about it; so far at least it is clear that you are not professional, and to that extent the chances are narrowed that you get your bread out of the public pocket. To be sure, it is still possible that you may be a stay-maker, or a rat-catcher. But these are out-of-the-way vocations, and nobody adverts to such narrow possibilities. Now, on the other hand, to be a connoisseur in painting or in sculpture, supposing always that you are no practising artist, in other words, supposing that you know nothing about the subject, implies that you must live amongst comme-il-faut people who possess pictures and casts to look at; else how the deuce could you have got your knowledge—or, by the way, your ignorance, which answers just as well amongst those who are not peevish. We, however, are so, as we have said already. And what made us peevish, in spite of strong original stamina for illimitable indulgence to all predestined bores and nuisances in the way of conversation, was—not the ignorance, not the nonsense, not the contradictoriness of opinion—no! but the false, hypocritical enthusiasm about objects for which in reality they cared not the fraction of a straw. To hear these bores talk of educating the people to an acquaintance with what they call 'high art'! Ah, heavens, mercifully grant that the earth may gape for us before our name is placed on any such committee! 'High art,' indeed! First of all, most excellent bores, would you please to educate the people into the high and mysterious art of boiling potatoes. We, though really owning no particular duty or moral obligation of boiling potatoes, really can boil them very decently in any case arising of public necessity for our services; and if the art should perish amongst men, which seems likely enough, so long as we live, the public may rely upon it being restored. But as to women, as to the wives of poor hard-working men, not one in fifty can boil a potato into a condition that is not ruinous to the digestion. And we have reason to know that the Chartists, on their great meditated outbreak, having hired a six-pounder from a pawnbroker, meant to give the signal for insurrection at dinner-time, because (as they truly observed) cannon-balls, hard and hot, would then be plentiful on every table. God sends potatoes, we all know; but who it is that sends the boilers of potatoes, out of civility to the female sex, we decline to say.
Well, but this (you say) is a digression. Why, true; and a digression is often the cream of an article. However, as you dislike it, let us regress as fast as possible, and scuttle back from the occult art of boiling potatoes to the much more familiar one of painting in oil. Did Coleridge really understand this art? Was he a sciolist, was he a pretender, or did he really judge of it from a station of heaven-inspired knowledge? A hypocrite Coleridge never was upon any subject; he never affected to know when secretly he felt himself ignorant. And yet, of the topics on which he was wont eloquently to hold forth, there was none on which he was less satisfactory—none on which he was more acute, yet none on which he was more prone to excite contradiction and irritation, if that had been allowed.
Here, for example, is a passage from one of his lectures on art:
'It is sufficient that philosophically we understand that in all imitations two elements must coexist, and not only coexist, but must be perceived as existing. Those two constituent elements are likeness and unlikeness, or sameness and difference, and in all genuine creations of art there must be a union of these disparates. The artist may take this point of view where he pleases, provided that the desired effect be perceptibly produced, that there be likeness in the difference, difference in the likeness, and a reconcilement of both in one. If there be likeness to nature without any check of difference,
'Merry Wives of Windsor,' Act I., Sc. 4. Mrs. Quickly: '… An honest, willing, kind fellow, as ever servant shall come in house withal; and I warrant you no tell-tale, nor no breed-hate; his worst fault is, that he is given to prayer; he is something peevish that way; but nobody but has his fault—but let that pass.'—Ed.