To literary composition we may apply the saying of an ancient
philosopher:--"A little thing gives perfection, although perfection is
not a little thing."
The great legislator of the Hebrews orders us to pull off the fruit for
the first three years, and not to taste them. He was not ignorant how it
weakens a young tree to bring to maturity its first fruits. Thus, on
literary compositions, our green essays ought to be picked away. The
word _Zamar_, by a beautiful metaphor from _pruning trees_, means in
Hebrew to _compose verses_. Blotting and correcting was so much
Churchill's abhorrence, that I have heard from his publisher he once
energetically expressed himself, that _it was like cutting away one's
own flesh_. This strong figure sufficiently shows his repugnance to an
author's duty. Churchill now lies neglected, for posterity will only
respect those who
----File off the mortal part
Of glowing thought with Attic art.
YOUNG.
I have heard that this careless bard, after a successful work, usually
precipitated the publication of another, relying on its crudeness being
passed over by the public curiosity excited by its better brother. He
called this getting double pay, for thus he secured the sale of a
hurried work. But Churchill was a spendthrift of fame, and enjoyed all
his revenue while he lived; posterity owes him little, and pays him
nothing!
Bayle, an experienced observer in literary matters, tells us that
_correction_ is by no means practicable by some authors, as in the case
of Ovid. In exile, his compositions were nothing more than spiritless
repetitions of what he had formerly written. He confesses both
negligence and idleness in the corrections of his works. The vivacity
which animated his first productions failing him when he revised his
poems, he found correction too laborious, and he abandoned it. This,
however, was only an excuse. "It is certain that _some authors cannot
correct_. They compose with pleasure, and with ardour; but they exhaust
all their force. They fly with but one wing when they review their
works; the first fire does not return; there is in their imagination a
certain calm which hinders their pen from making any progress. Their
mind is like a boat, which only advances by the strength of oars."
Dr. More, the Platonist, had such an exuberance of fancy, that
_correction_ was a much greater labour than _composition_. He used to
say, that in writing his works, he was forced to cut his way through a
crowd of thoughts as through a wood, and that he threw off in his
compositions as much as would make an ordinary philosopher. More was a
great enthusiast, and, of course, an egotist, so that _criticism_
ruffled his temper, notwithstanding all his Platonism. When accused of
obscurities and extravagances, he said that, like the ostrich, he laid
his eggs in the sands, which would prove vital and prolific in time;
however, these ostrich-eggs have proved to be addled.
A habit of correctness in the lesser parts of composition will assist
the higher. It is worth recording that the great Milton was anxious for
correct punctuation, and that Addison was solicitous after the minutiæ
of the press. Savage, Armstrong, and others, felt tortures on similar
objects. It is said of Julius Scaliger, that he had this peculiarity in
his manner of composition: he wrote with such accuracy that his MSS. and
the printed copy corresponded page for page, and line for line.
Malherbe, the father of French poetry, tormented himself by a prodigious
slowness; and was employed rather in perfecting than in forming works.
His muse is compared to a fine woman in the pangs of delivery. He
exulted in his tardiness, and, after finishing a poem of one hundred
verses, or a discourse of ten pages, he used to say he ought to repose
for ten years. Balzac, the first writer in French prose who gave majesty
and harmony to a period, did not grudge to expend a week on a page,
never satisfied with his first thoughts. Our "costive" Gray entertained
the same notion: and it is hard to say if it arose from the sterility of
their genius, or their sensibility of taste.
The MSS. of Tasso, still preserved, are illegible from the vast number
of their corrections. I have given a fac-simile, as correct as it is
possible to conceive, of one page of Pope's MS. Homer, as a specimen of
his continual corrections and critical erasures. The celebrated Madame
Dacier never could satisfy herself in translating Homer: continually
retouching the version, even in its happiest passages. There were
several parts which she translated in six or seven manners; and she
frequently noted in the margin--_I have not yet done it_.
When Pascal became warm in his celebrated controversy, he applied
himself with incredible labour to the composition of his "Provincial
Letters." He was frequently twenty days occupied on a single letter. He
recommenced some above seven and eight times, and by this means obtained
that perfection which has made his work, as Voltaire says, "one of the
best books ever published in France."
The Quintus Curtius of Vaugelas occupied him thirty years: generally
every period was translated in the margin five or six different ways.
Chapelain and Conrart, who took the pains to review this work
critically, were many times perplexed in their choice of passages; they
generally liked best that which had been first composed. Hume had never
done with corrections; every edition varies from the preceding ones. But
there are more fortunate and fluid minds than these. Voltaire tells us
of Fenelon's Telemachus, that the amiable author composed it in his
retirement, in the short period of three months. Fenelon had, before
this, formed his style, and his mind overflowed with all the spirit of
the ancients. He opened a copious fountain, and there were not ten
erasures in the original MS. The same facility accompanied Gibbon after
the experience of his first volume; and the same copious readiness
attended Adam Smith, who dictated to his amanuensis, while he walked
about his study.
The ancients were as pertinacious in their corrections. Isocrates, it is
said, was employed for ten years on one of his works, and to appear
natural studied with the most refined art. After a labour of eleven
years, Virgil pronounced his Æneid imperfect. Dio Cassius devoted twelve
years to the composition of his history, and Diodorus Siculus, thirty.
There is a middle between velocity and torpidity; the Italians say, it
is not necessary to be a stag, but we ought not to be a tortoise.
Many ingenious expedients are not to be contemned in literary labours.
The critical advice,
To choose an _author_ as we would a _friend_,
is very useful to young writers. The finest geniuses have always
affectionately attached themselves to some particular author of
congenial disposition. Pope, in his version of Homer, kept a constant
eye on his master Dryden; Corneille's favourite authors were the
brilliant Tacitus, the heroic Livy, and the lofty Lucan: the influence
of their characters may be traced in his best tragedies. The great
Clarendon, when employed in writing his history, read over very
carefully Tacitus and Livy, to give dignity to his style; Tacitus did
not surpass him in his portraits, though Clarendon never equalled Livy
in his narrative.
The mode of literary composition adopted by that admirable student Sir
William Jones, is well deserving our attention. After having fixed on
his subjects, he always added the _model_ of the composition; and thus
boldly wrestled with the great authors of antiquity. On board the
frigate which was carrying him to India, he projected the following
works, and noted them in this manner:--
1. Elements of the Laws of England.
_Model_--The Essay on Bailments. ARISTOTLE.
2. The History of the American War.
_Model_--THUCYDIDES and POLYBIUS.
3. Britain Discovered, an Epic Poem. Machinery--Hindu
Gods. _Model_--HOMER.
4. Speeches, Political and Forensic.
_Model_--DEMOSTHENES.
5. Dialogues, Philosophical and Historical.
_Model_--PLATO.
And of favourite authors there are also favourite works, which we love
to be familiarised with. Bartholinus has a dissertation on reading
books, in which he points out the superior performances of different
writers. Of St. Austin, his City of God; of Hippocrates, _Coacæ
Prænotiones_; of Cicero, _De Officiis_; of Aristotle, _De Animalibus_;
of Catullus, _Coma Berenices_; of Virgil, the sixth book of the Æneid,
&c. Such judgments are indeed not to be our guides; but such a mode of
reading is useful, by condensing our studies.
Evelyn, who has written treatises on several subjects, was occupied for
years on them. His manner of arranging his materials, and his mode of
composition, appear excellent. Having chosen a subject, he analysed it
into its various parts, under certain heads, or titles, to be filled up
at leisure. Under these heads he set down his own thoughts as they
occurred, occasionally inserting whatever was useful from his reading.
When his collections were thus formed, he digested his own thoughts
regularly, and strengthened them by authorities from ancient and modern
authors, or alleged his reasons for dissenting from them. His
collections in time became voluminous, but he then exercised that
judgment which the formers of such collections are usually deficient in.
With Hesiod he knew that "half is better than the whole," and it was his
aim to express the quintessence of his reading, but not to give it in a
crude state to the world, and when his _treatises_ were sent to the
press, they were not half the size of his collections.
Thus also Winkelmann, in his "History of Art," an extensive work, was
long lost in settling on a plan; like artists, who make random sketches
of their first conceptions, he threw on paper ideas, hints, and
observations which occurred in his readings--many of them, indeed, were
not connected with his history, but were afterwards inserted in some of
his other works.
Even Gibbon tells us of his Roman History, "at the outset all was dark
and doubtful; even the title of the work, the true æra of the decline
and fall of the empire, the limits of the introduction, the division of
the chapters, and the order of the narration; and I was often tempted to
cast away the labour of seven years." Akenside has exquisitely described
the progress and the pains of genius in its delightful reveries:
Pleasures of Imagination, b. iii. v. 373. The pleasures of composition
in an ardent genius were never so finely described as by Buffon.
Speaking of the hours of composition he said, "These are the most
luxurious and delightful moments of life: moments which have often
enticed me to pass fourteen hours at my desk in a state of transport;
this _gratification_ more than _glory_ is my reward."
The publication of Gibbon's Memoirs conveyed to the world a faithful
picture of the most fervid industry; it is in _youth_ the foundations of
such a sublime edifice as his history must be laid. The world can now
trace how this Colossus of erudition, day by day, and year by year,
prepared himself for some vast work.
Gibbon has furnished a new idea in the art of reading! We ought, says
he, not to attend to the _order of our books, so much as of our
thoughts_. "The perusal of a particular work gives birth perhaps to
ideas unconnected with the subject it treats; I pursue these ideas, and
quit my proposed plan of reading." Thus in the midst of Homer he read
Longinus; a chapter of Longinus led to an epistle of Pliny; and having
finished Longinus, he followed the train of his ideas of the sublime and
beautiful in the Inquiry of Burke, and concluded with comparing the
ancient with the modern Longinus. Of all our popular writers the most
experienced reader was Gibbon, and he offers an important advice to an
author engaged on a particular subject: "I suspended my perusal of any
new book on the subject till I had reviewed all that I knew, or
believed, or had thought on it, that I might be qualified to discern how
much the authors added to my original stock."
These are valuable hints to students, and such have been practised by
others.[24] Ancillon was a very ingenious student; he seldom read a book
throughout without reading in his progress many others; his
library-table was always covered with a number of books for the most
part open: this variety of authors bred no confusion; they all assisted
to throw light on the same topic; he was not disgusted by frequently
seeing the same thing in different writers; their opinions were so many
new strokes, which completed the ideas which he had conceived. The
celebrated Father Paul studied in the same manner. He never passed over
an interesting subject till he had confronted a variety of authors. In
historical researches he never would advance, till he had fixed, once
for all, the places, time, and opinions--a mode of study which appears
very dilatory, but in the end will make a great saving of time, and
labour of mind: those who have not pursued this method are all their
lives at a loss to settle their opinions and their belief, from the want
of having once brought them to such a test.
I shall now offer a plan of Historical Study, and a calculation of the
necessary time it will occupy, without specifying the authors; as I only
propose to animate a young student, who feels he has not to number the
days of a patriarch, that he should not be alarmed at the vast labyrinth
historical researches present to his eye. If we look into public
libraries, more than thirty thousand volumes of history may be found.
Lenglet du Fresnoy, one of the greatest readers, calculated that he
could not read, with satisfaction, more than ten hours a day, and ten
pages in folio an hour; which makes one hundred pages every day.
Supposing each volume to contain one thousand pages, every month would
amount to three volumes, which make thirty-six volumes in folio in the
year. In fifty years a student could only read eighteen hundred volumes
in folio. All this, too, supposing uninterrupted health, and an
intelligence as rapid as the eyes of the laborious researcher. A man can
hardly study to advantage till past twenty, and at fifty his eyes will
be dimmed, and his head stuffed with much reading that should never be
read. His fifty years for eighteen hundred volumes are reduced to thirty
years, and one thousand volumes! And, after all, the universal historian
must resolutely face thirty thousand volumes!
But to cheer the historiographer, he shows, that a public library is
only necessary to be consulted; it is in our private closet where should
be found those few writers who direct us to their rivals, without
jealousy, and mark, in the vast career of time, those who are worthy to
instruct posterity. His calculation proceeds on this plan, that _six
hours_ a day, and the term of _ten years_, are sufficient to pass over,
with utility, the immense field of history.
He calculates an alarming extent of historical ground.
For a knowledge of Sacred History he gives 3 months.
Ancient Egypt, Babylon, and Assyria, modern Assyria}
or Persia } 1 do.
Greek History 6 do.
Roman History by the moderns 7 do.
Roman History by the original writers 6 do.
Ecclesiastical History, general and particular 30 do.
Modern History 24 do.
To this may be added for recurrences and re-perusals 48 do.
____
The total will amount to 10½ years.
Thus, in _ten years and a half_, a student in history has obtained an
universal knowledge, and this on a plan which permits as much leisure as
every student would choose to indulge.
As a specimen of Du Fresnoy's calculations, take that of Sacred
History.
For reading Père Calmet's learned dissertations in the}
order he points out } 12 days
For Père Calmet's History, in 2 vols. 4to (now in 4) 12
For Prideaux's History 10
For Josephus 12
For Basnage's History of the Jews 20
----
In all 66 days.
He allows, however, ninety days for obtaining a sufficient knowledge of
Sacred History.
In reading this sketch, we are scarcely surprised at the erudition of a
Gibbon; but having admired that erudition, we perceive the necessity of
such a plan, if we would not learn what we have afterwards to unlearn.
A plan like the present, even in a mind which should feel itself
incapable of the exertion, will not be regarded without that reverence
we feel for genius animating such industry. This scheme of study, though
it may never be rigidly pursued, will be found excellent. Ten years'
labour of happy diligence may render a student capable of consigning to
posterity a history as universal in its topics, as that of the historian
who led to this investigation.