_“Critical and Miscellaneous Essays.” By T. Babington Macaulay.
Vol. 3d. Carey & Hart: Philadelphia._
Macaulay has obtained a reputation which, although deservedly great, is
yet in a remarkable measure undeserved. The few who regard him merely as
a terse, forcible and logical writer, full of thought, and abounding in
original views often sagacious and never otherwise than admirably
expressed—appear to us precisely in the right. The many who look upon
him as not only all this, but as a comprehensive and profound thinker,
little prone to error, err essentially themselves. The source of the
general mistake lies in a very singular consideration—yet in one upon
which we do not remember ever to have heard a word of comment. We allude
to a tendency in the public mind towards logic for logic’s sake—a
liability to confound the vehicle with the conveyed—an aptitude to be
so dazzled by the luminousness with which an idea is set forth, as to
mistake it for the luminousness of the idea itself. The error is one
exactly analogous with that which leads the immature poet to think
himself sublime wherever he is obscure, because obscurity is a source of
the sublime—thus confounding obscurity of expression with the
expression of obscurity. In the case of Macaulay—and we may say, _en
passant_, of our own Channing—we assent to what he says, too often
because we so very clearly understand what it is that he intends to say.
Comprehending vividly the points and the sequence of his argument, we
fancy that we are concurring in the argument itself. It is not every
mind which is at once able to analyze the satisfaction it receives from
such Essays as we see here. If it were merely _beauty_ of style for
which they were distinguished—if they were remarkable only for
rhetorical flourishes—we would not be apt to estimate these flourishes
at more than their due value. We would not agree with the doctrines of
the essayist on account of the elegance with which they were urged. On
the contrary, we would be inclined to disbelief. But when all ornament
save that of simplicity is disclaimed—when we are attacked by precision
of language, by perfect accuracy of expression, by directness and
singleness of thought, and above all by a logic the most rigorously
close and consequential—it is hardly a matter for wonder that nine of
us out of ten are content to rest in the gratification thus received as
in the gratification of absolute truth.
Of the terseness and simple vigor of Macaulay’s style it is unnecessary
to point out instances. Every one will acknowledge his merits on this
score. His exceeding _closeness_ of logic, however, is more especially
remarkable. With this he suffers nothing to interfere. Here, for
example, is a sentence in which, to preserve entire the chain of his
argument—_to leave no minute gap which the reader might have to fill up
with thought_—he runs into most unusual tautology.
“The books and traditions of a sect may contain, mingled with
propositions strictly theological, other propositions, purporting to
rest on the same authority, which relate to physics. If new discoveries
should throw discredit on the physical propositions, the theological
propositions, unless they can be separated from the physical
propositions, will share in their discredit.”
These things are very well in their way; but it is indeed questionable
whether they do not appertain rather to the trickery of thought’s
vehicle, than to thought itself—rather to reason’s shadow than to
reason. Truth, for truth’s sake, is seldom so enforced. It is scarcely
too much to say that the style of the profound thinker is never closely
logical. Here we might instance George Combe—than whom a more candid
reasoner never, perhaps, wrote or spoke—than whom a more complete
antipodes to Babington Macaulay there certainly never existed. The
former _reasons_ to discover the true. The latter _argues_ to convince
the world, and, in arguing, not unfrequently surprises himself into
conviction. What Combe appear to Macaulay it would be a difficult thing
to say. What Macaulay is thought of by Combe we can understand very
well. The man who looks at an argument in its details alone, will not
fail to be misled by the one; while he who keeps steadily in view the
_generality_ of a thesis will always at least approximate the truth
under guidance of the other.
Macaulay’s tendency—and the tendency of mere logic in general—to
concentrate force upon minutiæ, at the expense of a subject as a whole,
is well instanced in an article (in the volume now before us) on Ranke’s
History of the Popes. This article is called a review—possibly because
it is anything else—_as lucus_ is _lucus a non lucendo_. In fact it is
nothing more than a beautifully written treatise on the main theme of
Ranke himself; the whole matter of the treatise being deduced from the
History. In the way of criticism there is nothing worth the name. The
strength of the essayist is put forth to account for the progress of
Romanism by maintaining that divinity is not a progressive science. The
enigmas, says he in substance, which perplex the natural theologian are
the same in all ages, while the Bible, where alone we are to seek
revealed truth, has always been what it is.
The manner in which these two propositions are set forth, is a model for
the logician and for the student of _belles lettres_—yet the error into
which the essayist has rushed headlong, is egregious. He attempts to
deceive his readers, or has deceived himself, by confounding the nature
of that proof from which we reason of the concerns of earth, considered
as man’s habitation, and the nature of that evidence from which we
reason of the same earth regarded as a unit of that vast whole, the
universe. In the former case the _data_ being palpable, the proof is
direct: in the latter it is purely _analogical_. Were the indications we
derive from science, of the nature and designs of Deity, and thence, by
inference, of man’s destiny—were these indications proof direct, no
advance in science would strengthen them—for, as our author truly
observes, “nothing could be added to the force of the argument which the
mind finds in every beast, bird, or flower”—but as these indications
are rigidly analogical, every step in human knowledge—every
astronomical discovery, for instance—throws additional light upon the
august subject, _by extending the range of analogy_. That we know no
more to-day of the nature of Deity—of its purposes—and thus of man
himself—than we did even a dozen years ago—is a proposition
disgracefully absurd; and of this any astronomer could assure Mr.
Macaulay. Indeed, to our own mind, the _only_ irrefutable argument in
support of the soul’s immortality—or, rather, the only conclusive proof
of man’s alternate dissolution and re-juvenescence _ad infinitum_—is to
be found in analogies deduced from the modern established theory of the
nebular cosmogony.[6] Mr. Macaulay, in short, has forgotten what he
frequently forgets, or neglects,—the very gist of his subject. He has
forgotten that analogical evidence cannot, at all times, be discoursed
of as if identical with proof direct. Throughout the whole of his
treatise he has made no distinction whatever.
This third volume completes, we believe, the miscellaneous writings of
its author.
-----
[6] This cosmogony _demonstrates_ that all existing bodies in the
universe are formed of a nebular matter, a rare ethereal medium,
pervading space—shows the mode and laws of formation—and _proves_ that
all things are in a perpetual state of progress—that nothing in nature
is _perfected_.
* * * * *
_“Corse de Leon: or the Brigand.” A Romance. By G. P. R. James.
2 vols. Harper & Brothers._
Bernard de Rohan and Isabel de Brienne are betrothed to each other in
childhood, but the father of the latter dying, and her mother marrying
again, the union of the two lovers is opposed by the father-in-law, the
Lord of Masseran, who has another husband in view for her, the Count de
Meyrand. To escape his persecutions, the heroine elopes, and is married
in a private chapel to De Rohan; but just as the ceremony has closed,
the pair are surprised by Masseran and Meynard, who fling the hero into
a dungeon, and bear off Isabel. The young wife manages to escape,
however, and reaches Paris to throw herself on the protection of the
King, Henry the Second. Here she learns that her husband, whom the
monarch had ordered to be freed, has perished in a conflagration of
Masseran’s castle; and she determines to take the veil. In vain the king
endeavors to persuade her to wait. She is inflexible, until surprised by
the re-appearance of de Rohan, who, instead of perishing as supposed,
has been rescued, unknown, by Corse de Leon, a stern, wild, yet withal,
generous sort of a brigand, with whom he had become accidentally
acquainted on the frontiers of Savoy. As the stolen marriage of the
lovers has been revoked by a royal edict, it is necessary that the
ceremony should be repeated. A week hence is named for the wedding, but
before that time arrives de Rohan not only fights—unavoidably of
course—with his rival, which the monarch has forbidden, but is accused
by Masseran of the murder of Isabel’s brother in a remote province of
France. De Rohan is tried, found guilty and condemned to die; but on the
eve of execution is rescued by his good genius, the brigand. He flies
his country, and in disguise joins the army in Italy, where he greatly
distinguishes himself. Finally, he storms and carries a castle, by the
assistance of Corse de Leon, which Meyrand, now an outlaw, is holding
out against France; at the same time rescuing his long lost bride from
the clutches of the count, into which she had fallen by the sack of a
neighboring abbey. In the dungeon of the captured castle Isabel’s
brother is discovered, he having been confined there by Masseran, prior
to charging de Rohan with his murder. After a little farther bye-play,
which only spoils the work, and which we shall not notice, the lovers
are united, and thenceforth “all goes merry as a marriage bell.”
This is the outline of the plot—well enough in its way; but partaking
largely of the common-place, and marred by the conclusion, which we have
omitted, and which was introduced only for the purpose of introducing
the famous death of Henry the Second, at a tournament.
The characters, however, are still more common-place. De Rohan and
Isabel are like all James’ lovers, mere nothings—Father Welland and
Corse de Leon are the beneficent spirits, and Meyrand and Masseran are
the evil geniuses, of the novel. The other characters are lifeless,
common, and uncharacteristic. They make no impression, and you almost
forget their names. There is no originality in any of them, and save a
passage of fine writing here and there, nothing to be praised in the
book. Corse de Leon, the principal character, talks philosophy like
Bulwer’s heroes, and is altogether a plagiarism from that bombastic,
unnatural, cut-throat school,—besides, he possesses a universality of
knowledge, combined with a commensurable power, which, although they get
the hero very conveniently out of scrapes, belie all nature. In short,
this is but a readable novel, and a mere repetition of the author’s
former works.
* * * * *
_“Insubordination; An American Story of Real Life.” By the
Author of the “Subordinate.” One Volume. Baltimore; Knight &
Colman._
The author of the “Subordinate” is Mr. T. S. Arthur, of Baltimore,
formerly one of the editors of the “Visiter and Athenæum,” and now, we
believe, connected with “The Budget,” a new monthly journal of that
city—with the literature of which, generally, he has been more or less
identified for many years past.
“The Subordinate” we have not had the pleasure of reading. The present
book, “Insubordination,” is excellently written in its way; although we
must be pardoned for saying that the _way_ itself is not of a high order
of excellence. It is all well enough to justify works of this class by
hyper-democratic allusions to the “moral dignity” of low life, &c.
&c.—but we cannot understand why a gentleman should feel or affect a
_penchant_ for vulgarity; nor can we comprehend the “moral dignity” of a
dissertation upon bed-bugs: for the opening part of “Insubordination”
is, if anything, a treatise on these peculiar animalculæ.
Some portions of the book are worthy of the author’s ability, which it
would rejoice us to see more profitably occupied. For example, a passage
where Jimmy, an ill-treated orphan, relates to the only friend he has
ever found, some of the poignant sorrows of his childhood, embodies a
fine theme, handled in a manner which has seldom been excelled. Its
pathos is exquisite. The morality of the story is no doubt good; but the
reasoning by which it is urged is decrepid, and far too pertinaciously
thrust into the reader’s face at every page. The mode in which all the
characters are _reformed_, one after the other, belongs rather to the
desirable than to the credible. The style of the narrative is easy and
_truthful_. We dare say the work will prove popular in a certain sense;
but, upon the whole, we do not like it.
* * * * *
_“Marathon, and Other Poems.” By Pliny Earle, M. D. Henry
Perkins, Philadelphia._
We have long had a very high opinion of the talents of Doctor Earle; and
it gives us sincere pleasure to see his poems in book form. The
publication will place him at once in the front rank of our bards. His
qualities are all of a sterling character—a high imagination,
delighting in lofty themes—a rigorous simplicity, disdaining verbiage
and meretricious ornament—a thorough knowledge of the proprieties of
metre—and an ear nicely attuned to its delicacies. In addition, he
feels as a man, and thinks and writes as a scholar. His general manner,
puts us much in mind of Halleck. “Marathon,” the longest poem in the
volume before us, is fully equal to the “Bozzaris” of that writer;
although we confess that between the two poems there exists a similarity
in tone and construction which we would rather not have observed.
In the present number of our Magazine will be found a very beautiful
composition by the author of “Marathon.” It exhibits all the rare
beauties of its author.
* * * * *
_“Selections from the Poetical Literature of the West.” U. P.
James; Cincinnati._
This handsomely printed volume fills a long-regretted _hiatus_ in our
poetical literature, and we are much indebted to Mr. James the
publisher; and to Mr. William D. Gallagher, who has superintended the
compilation. We are told, in the Preface by Mr. G. that the book “is not
sent forth as by any means the whole of the ‘Poetical Literature of the
West,’ but that it is believed it will represent its _character_ pretty
faithfully, as it certainly contains samples of its greatest
excellences, its mediocre qualities, and its worst defects.” It may be
questioned, indeed, how far we are to thank the editor for troubling us
with the “defects,” or, what in poesy is still worse, with the “mediocre
qualities” of any literature whatever. It is no apology to say that the
design was to represent “character”—for who cares for the character of
that man or of that poem which has no character at all?
By these observations we mean merely to insinuate, as delicately as
possible, that Mr. Gallagher has admitted into this volume a great deal
of trash with which the public could well have dispensed. On the other
hand we recognise many poems of a high order of excellence; among which
we may mention an “Ode to the Press” by G. G. Foster, of the St. Louis
Pennant; several sweet pieces by our friend F. W. Thomas, of “Clinton
Bradshaw” memory; “The Flight of Years” by George D. Prentice; “To the
Star Lyra,” by William Wallace; and the “Miami Woods,” by Mr. Gallagher.
We have spoken of this latter gentleman as the _editor_ of the
volume—but presume that in so speaking we have been in error. It is
probable that, the volume having been compiled by some other hand, he
was requested by Mr. James to write the Preface merely. We are forced
into this conclusion by observing that the poems of William D. Gallagher
occupy more room in the book than those of any other author, and that
the “Miami Woods” just mentioned—lines written by himself—form the
opening article of the work. We cannot believe that Mr. G. would have
been so wanting in modesty as to perpetrate these improprieties as
_editor_ of the “Poetical Literature of the West.”
* * * * *
_“The Quadroone.” A Novel. By the Author of “Lafitte,” &c.
Harper & Brothers, New York._
We see no good reason for differing with that general sentence of
condemnation which has been pronounced upon this book, both at home and
abroad—and less for attempting anything in the way of an extended
review of its contents. This was our design upon hearing the novel
announced; but an inspection of its pages assures us that the labor
would be misplaced. Nothing that we could say—had we even the
disposition to say it—would convince any sensible man that “The
Quadroone” is not a very bad book—such a book as Professor Ingraham
(for whom we have a high personal respect) ought to be ashamed of. _We_
are ashamed of it.
* * * * *
[Illustration: fashions]
* * * * *
Transcriber’s Notes:
Table of Contents has been added for reader convenience. Archaic
spellings and hyphenation have been retained. Obvious punctuation and
typesetting errors have been corrected without note. A cover was been
created for this ebook and is placed in the public domain.
[End of _Graham’s Magazine, Vol. XVIII, No. 6, June 1841_, George R.
Graham, Editor]