while we consider them as the means to be used, at some future time, for
the attainment of felicity, we press on our pursuit ardently and
vigorously, and that ardour secures us from weariness of ourselves; but
no sooner do we sit down to enjoy our acquisitions, than we find them
insufficient to fill up the vacuities of life.
One cause which is not always observed of the insufficiency of riches
is, that they very seldom make their owner rich. To be rich, is to have
more than is desired, and more than is wanted, to have something which
may be spent without reluctance, and scattered without care, with which
the sudden demands of desire may be gratified, the casual freaks of
fancy indulged, or the unexpected opportunities of benevolence improved.
Avarice is always poor, but poor by her own fault. There is another
poverty to which the rich are exposed with less guilt by the
officiousness of others. Every man, eminent for exuberance of fortune,
is surrounded from morning to evening, and from evening to midnight, by
flatterers, whose art of adulation consists in exciting artificial
wants, and in forming new schemes of profusion.
Tom Tranquil, when he came to age, found himself in possession of a
fortune, of which the twentieth part might perhaps have made him rich.
His temper is easy, and his affections soft; he receives every man with
kindness, and hears him with credulity. His friends took care to settle
him by giving him a wife, whom, having no particular inclination, he
rather accepted than chose, because he was told that she was proper for
him.
He was now to live with dignity proportionate to his fortune. What his
fortune requires or admits Tom does not know, for he has little skill in
computation, and none of his friends think it their interest to improve
it. If he was suffered to live by his own choice, he would leave every
thing as he finds it, and pass through the world distinguished only by
inoffensive gentleness. But the ministers of luxury have marked him out
as one at whose expense they may exercise their arts. A companion, who
had just learned the names of the Italian masters, runs from sale to
sale, and buys pictures, for which Mr. Tranquil pays, without inquiring
where they shall be hung. Another fills his garden with statues, which
Tranquil wishes away, but dares not remove. One of his friends is
learning architecture by building him a house, which he passed by, and
inquired to whom it belonged; another has been for three years digging
canals and raising mounts, cutting trees down in one place, and planting
them in another, on which Tranquil looks with a serene indifference,
without asking what will be the cost. Another projector tells him that a
waterwork, like that of Versailles, will complete the beauties of his
seat, and lays his draughts before him: Tranquil turns his eyes upon
them, and the artist begins his explanations; Tranquil raises no
objections, but orders him to begin the work, that he may escape from
talk which he does not understand.
Thus a thousand hands are busy at his expense, without adding to his
pleasures. He pays and receives visits, and has loitered in publick or
in solitude, talking in summer of the town, and in winter of the
country, without knowing that his fortune is impaired, till his steward
told him this morning, that he could pay the workmen no longer but by
mortgaging a manor.
No. 74. SATURDAY, SEPTEMBER 15, 1759.
In the mythological pedigree of learning, memory is made the mother of
the muses, by which the masters of ancient wisdom, perhaps, meant to
show the necessity of storing the mind copiously with true notions,
before the imagination should be suffered to form fictions or collect
embellishments; for the works of an ignorant poet can afford nothing
higher than pleasing sound, and fiction is of no other use than to
display the treasures of memory.
The necessity of memory to the acquisition of knowledge is inevitably
felt and universally allowed, so that scarcely any other of the mental
faculties are commonly considered as necessary to a student: he that
admires the proficiency of another, always attributes it to the
happiness of his memory; and he that laments his own defects, concludes
with a wish that his memory was better.
It is evident, that when the power of retention is weak, all the
attempts at eminence of knowledge must be vain; and as few are willing
to be doomed to perpetual ignorance, I may, perhaps, afford consolation
to some that have fallen too easily into despondence, by observing that
such weakness is, in my opinion, very rare, and that few have reason to
complain of nature as unkindly sparing of the gifts of memory.
In the common business of life, we find the memory of one like that of
another, and honestly impute omissions not to involuntary forgetfulness,
but culpable inattention; but in literary inquiries, failure is imputed
rather to want of memory than of diligence.
We consider ourselves as defective in memory, either because we remember
less than we desire, or less than we suppose others to remember.
Memory is like all other human powers, with which no man can be
satisfied who measures them by what he can conceive, or by what he can
desire. He whose mind is most capacious, finds it much too narrow for
his wishes; he that remembers most, remembers little compared with what
he forgets. He, therefore, that, after the perusal of a book, finds few
ideas remaining in his mind, is not to consider the disappointment as
peculiar to himself, or to resign all hopes of improvement, because he
does not retain what even the author has, perhaps, forgotten.
He who compares his memory with that of others, is often too hasty to
lament the inequality. Nature has sometimes, indeed, afforded examples
of enormous, wonderful and gigantick memory. Scaliger reports of
himself, that, in his youth, he could repeat above a hundred verses,
having once read them; and Barthicus declares, that he wrote his comment
upon Claudian without consulting the text. But not to have such degrees
of memory is no more to be lamented, than not to have the strength of
Hercules, or the swiftness of Achilles. He that, in the distribution of
good, has an equal share with common men, may justly be contented. Where
there is no striking disparity, it is difficult to know of two which
remembers most, and still more difficult to discover which reads with
greater attention, which has renewed the first impression by more
frequent repetitions, or by what accidental combination of ideas either
mind might have united any particular narrative or argument to its
former stock.
But memory, however impartially distributed, so often deceives our
trust, that almost every man attempts, by some artifice or other, to
secure its fidelity.
It is the practice of many readers to note, in the margin of their
books, the most important passages, the strongest arguments, or the
brightest sentiments. Thus they load their minds with superfluous
attention, repress the vehemence of curiosity by useless deliberation,
and by frequent interruption break the current of narration or the chain
of reason, and at last close the volume, and forget the passages and
marks together.
Others I have found unalterably persuaded, that nothing is certainly
remembered but what is transcribed; and they have, therefore, passed
weeks and months in transferring large quotations to a commonplace-book.
Yet, why any part of a book, which can be consulted at pleasure, should
be copied, I was never able to discover. The hand has no closer
correspondence with the memory than the eye. The act of writing itself
distracts the thoughts, and what is read twice is commonly better
remembered than what is transcribed. This method, therefore, consumes
time without assisting memory.
The true art of memory is the art of attention. No man will read with
much advantage, who is not able, at pleasure, to evacuate his mind, or
who brings not to his author an intellect defecated and pure, neither
turbid with care, nor agitated by pleasure. If the repositories of
thought are already full, what can they receive? If the mind is employed
on the past or future, the book will be held before the eyes in vain.
What is read with delight is commonly retained, because pleasure always
secures attention; but the books which are consulted by occasional
necessity, and perused with impatience, seldom leave any traces on the
mind.
No. 75. SATURDAY, SEPTEMBER 22, 1759.
In the time when Bassora was considered as the school of Asia, and
flourished by the reputation of its professors and the confluence of its
students, among the pupils that listened round the chair of Albumazar
was Gelaleddin, a native of Tauris, in Persia, a young man amiable in
his manners and beautiful in his form, of boundless curiosity, incessant
diligence, and irresistible genius, of quick apprehension and tenacious
memory, accurate without narrowness, and eager for novelty without
inconstancy.
No sooner did Gelaleddin appear at Bassora, than his virtues and
abilities raised him to distinction. He passed from class to class
rather admired than envied by those whom the rapidity of his progress
left behind; he was consulted by his fellow-students as an oraculous
guide, and admitted as a competent auditor to the conferences of the
sages.
After a few years, having passed through all the exercises of probation,
Gelaleddin was invited to a professor's seat, and entreated to increase
the splendour of Bassora. Gelaleddin affected to deliberate on the
proposal, with which, before he considered it, he resolved to comply;
and next morning retired to a garden planted for the recreation of the
students, and, entering a solitary walk, began to meditate upon his
future life.
"If I am thus eminent," said he, "in the regions of literature, I shall
be yet more conspicuous in any other place; if I should now devote
myself to study and retirement, I must pass my life in silence,
unacquainted with the delights of wealth, the influence of power, the
pomp of greatness, and the charms of elegance, with all that man envies
and desires, with all that keeps the world in motion, by the hope of
gaining or the fear of losing it. I will, therefore, depart to Tauris,
where the Persian monarch resides in all the splendour of absolute
dominion: my reputation will fly before me, my arrival will be
congratulated by my kinsmen and my friends; I shall see the eyes of
those who predict my greatness sparkling with exultation, and the faces
of those that once despised me clouded with envy, or counterfeiting
kindness by artificial smiles. I will show my wisdom by my discourse,
and my moderation by my silence; I will instruct the modest with easy
gentleness, and repress the ostentatious by seasonable superciliousness.
My apartments will be crowded by the inquisitive and the vain, by those
that honour and those that rival me; my name will soon reach the court;
I shall stand before the throne of the emperour: the judges of the law
will confess my wisdom, and the nobles will contend to heap gifts upon
me. If I shall find that my merit, like that of others, excites
malignity, or feel myself tottering on the seat of elevation, I may at
last retire to academical obscurity, and become, in my lowest state, a
professor of Bassora."
Having thus settled his determination, he declared to his friends his
design of visiting Tauris, and saw with more pleasure than he ventured
to express, the regret with which he was dismissed. He could not bear to
delay the honours to which he was destined, and, therefore, hastened
away, and in a short time entered the capital of Persia. He was
immediately immersed in the crowd, and passed unobserved to his father's
house. He entered, and was received, though not unkindly, yet without
any excess of fondness or exclamations of rapture. His father had, in
his absence, suffered many losses, and Gelaleddin was considered as an
additional burden to a falling family.
When he recovered from his surprise, he began to display his
acquisitions, and practised all the arts of narration and disquisition:
but the poor have no leisure to be pleased with eloquence; they heard
his arguments without reflection, and his pleasantries without a smile.
He then applied himself singly to his brothers and sisters, but found
them all chained down by invariable attention to their own fortunes, and
insensible of any other excellence than that which could bring some
remedy for indigence.
It was now known in the neighbourhood that Gelaleddin was returned, and
he sat for some days in expectation that the learned would visit him for
consultation, or the great for entertainment. But who will be pleased or
instructed in the mansions of poverty? He then frequented places of
publick resort, and endeavoured to attract notice by the copiousness of
his talk. The sprightly were silenced, and went away to censure, in some
other place, his arrogance and his pedantry; and the dull listened
quietly for a while, and then wondered why any man should take pains to
obtain so much knowledge which would never do him good.
He next solicited the visiers for employment, not doubting but his
service would be eagerly accepted. He was told by one that there was no
vacancy in his office; by another, that his merit was above any
patronage but that of the emperour; by a third, that he would not forget
him; and by the chief visier, that he did not think literature of any
great use in publick business. He was sometimes admitted to their
tables, where he exerted his wit and diffused his knowledge; but he
observed, that where, by endeavour or accident, he had remarkably
excelled, he was seldom invited a second time.
He now returned to Bassora, wearied and disgusted, but confident of
resuming his former rank, and revelling again in satiety of praise. But
he who had been neglected at Tauris, was not much regarded at Bassora;
he was considered as a fugitive, who returned only because he could live
in no other place; his companions found that they had formerly overrated
his abilities, and he lived long without notice or esteem.
No. 76. SATURDAY, SEPTEMBER 29, 1759.
TO THE IDLER,
Sir,
I was much pleased with your ridicule of those shallow criticks, whose
judgment, though often right as far as it goes, yet reaches only to
inferior beauties, and who, unable to comprehend the whole, judge only
by parts, and from thence determine the merit of extensive works. But
there is another kind of critick still worse, who judges by narrow
rules, and those too often false, and which, though they should be true,
and founded on nature, will lead him but a very little way toward the
just estimation of the sublime beauties in works of genius; for whatever
part of an art can be executed or criticised by rules, that part is no
longer the work of genius, which implies excellence out of the reach of
rules. For my own part, I profess myself an Idler, and love to give my
judgment, such as it is, from my immediate perceptions, without much
fatigue of thinking; and I am of opinion that, if a man has not those
perceptions right, it will be vain for him to endeavour to supply their
place by rules, which may enable him to talk more learnedly, but not to
distinguish more acutely. Another reason which has lessened my affection
for the study of criticism is, that criticks, so far as I have observed,
debar themselves from receiving any pleasure from the polite arts, at
the same time, that they profess to love and admire them: for these
rules, being always uppermost, give them such a propensity to criticise,
that, instead of giving up the reins of their imagination into their
author's hands, their frigid minds are employed in examining whether the
performance be according to the rules of art.
To those who are resolved to be criticks in spite of nature, and, at the
same time, have no great disposition to much reading and study, I would
recommend to them to assume the character of connoisseur, which may be
purchased at a much cheaper rate than that of a critick in poetry. The
remembrance of a few names of painters, with their general characters,
with a few rules of the academy, which they may pick up among the
painters, will go a great way towards making a very notable connoisseur.
With a gentleman of this cast, I visited last week the Cartoons at
Hampton-court; he was just returned from Italy, a connoisseur of course,
and of course his mouth full of nothing but the grace of Raffaelle, the
purity of Domenichino, the learning of Poussin, the air of Guido, the
greatness of taste of the Carraccis, and the sublimity and grand
contorno of Michael Angelo; with all the rest of the cant of criticism,
which he emitted with that volubility which generally those orators have
who annex no ideas to their words.
As we were passing through the rooms, in our way to the gallery, I made
him observe a whole length of Charles the First by Vandyke, as a perfect
representation of the character as well as the figure of the man. He
agreed it was very fine, but it wanted spirit and contrast, and had not
the flowing line, without which a figure could not possibly be graceful.
When we entered the gallery, I thought I could perceive him recollecting
his rules by which he was to criticise Raffaelle. I shall pass over his
observation of the boats being too little, and other criticisms of that
kind, till we arrive at St. Paul preaching.
"This," says he, "is esteemed the most excellent of all the cartoons;
what nobleness, what dignity, there is in that figure of St. Paul! and
yet what an addition to that nobleness could Raffaelle have given, had
the art of contrast been known in his time! but, above all, the flowing
line which constitutes grace and beauty! You would not have then seen an
upright figure standing equally on both legs, and both hands stretched
forward in the same direction, and his drapery, to all appearance,
without the least art of disposition." The following picture is the
Charge to Peter. "Here," says he, "are twelve upright figures; what a
pity it is that Raffaelle was not acquainted with the pyramidal
principle! He would then have contrived the figures in the middle to
have been on higher ground, or the figures at the extremities stooping
or lying, which would not only have formed the group into the shape of a
pyramid, but likewise contrasted the standing figures. Indeed," added
he, "I have often lamented that so great a genius as Raffaelle had not
lived in this enlightened age, since the art has been reduced to
principles, and had had his education in one of the modern academies;
what glorious works might we have then expected from his divine pencil!"
I shall trouble you no longer with my friend's observations, which, I
suppose, you are now able to continue by yourself. It is curious to
observe, that, at the same time that great admiration is pretended for a
name of fixed reputation, objections are raised against those very
qualities by which that great name was acquired.
Those criticks are continually lamenting that Raffaelle had not the
colouring and harmony of Rubens, or the light and shadow of Rembrant,
without considering how much the gay harmony of the former, and
affectation of the latter, would take from the dignity of Raffaelle; and
yet Rubens had great harmony, and Rembrant understood light and shadow:
but what may be an excellence in a lower class of painting, becomes a
blemish in a higher; as the quick, sprightly turn, which is the life and
beauty of epigrammatick compositions, would but ill suit with the
majesty of heroick poetry.
To conclude; I would not be thought to infer, from any thing that has
been said, that rules are absolutely unnecessary; but to censure
scrupulosity, a servile attention to minute exactness, which is
sometimes inconsistent with higher excellency, and is lost in the blaze
of expanded genius.
I do not know whether you will think painting a general subject. By
inserting this letter, perhaps, you will incur the censure a man would
deserve, whose business being to entertain a whole room, should turn his
back to the company, and talk to a particular person[1].
I am, Sir, &c.
[1] By Sir Joshua Reynolds.
No. 77. SATURDAY, OCTOBER 6, 1759.
Easy poetry is universally admired; but I know not whether any rule has
yet been fixed, by which it may be decided when poetry can be properly
called easy. Horace has told us, that it is such as "every reader hopes
to equal, but after long labour finds unattainable." This is a very
loose description, in which only the effect is noted; the qualities
which produce this effect remain to be investigated.
Easy poetry is that in which natural thoughts are expressed without
violence to the language. The discriminating character of ease consists
principally in the diction; for all true poetry requires that the
sentiments be natural. Language suffers violence by harsh or by daring
figures, by transposition, by unusual acceptations of words, and by any
licence, which would be avoided by a writer of prose. Where any artifice
appears in the construction of the verse, that verse is no longer easy.
Any epithet which can be ejected without diminution of the sense, any
curious iteration of the same word, and all unusual, though not
ungrammatical structure of speech, destroy the grace of easy poetry.
The first lines of Pope's Iliad afford examples of many licences which
an easy writer must decline:
Achilles' _wrath_, to Greece the _direful spring_
Of woes unnumber'd, _heav'nly_ Goddess sing;
The wrath which _hurl'd_ to Pluto's _gloomy reign_
The souls of _mighty_ chiefs untimely slain.
In the first couplet the language is distorted by inversions, clogged
with superfluities, and clouded by a harsh metaphor; and in the second
there are two words used in an uncommon sense, and two epithets inserted
only to lengthen the line; all these practices may in a long work easily
be pardoned, but they always produce some degree of obscurity and
ruggedness.
Easy poetry has been so long excluded by ambition of ornament, and
luxuriance of imagery, that its nature seems now to be forgotten.
Affectation, however opposite to ease, is sometimes mistaken for it; and
those who aspire to gentle elegance, collect female phrases and
fashionable barbarisms, and imagine that style to be easy which custom
has made familiar. Such was the idea of the poet who wrote the following
verses to a _countess cutting paper_:
Pallas grew _vap'rish once and odd_,
She would not _do the least right thing_
Either for Goddess or for God,
Nor work, nor play, nor paint, nor sing.
Jove frown'd, and "Use (he cried) those eyes
So skilful, and those hands so taper;
Do something exquisite and wise"--
She bow'd, obey'd him, and cut paper.
This vexing him who gave her birth,
Thought by all Heaven a _burning shame_,
_What does she next_, but bids on earth
Her Burlington do just the same?
Pallas, you give yourself _strange airs_;
But sure you'll find it hard to spoil
The sense and taste of one that bears
The name of Savile and of Boyle.
Alas! one bad example shown,
How quickly all the sex pursue!
See, madam! see the arts o'erthrown
Between John Overton and _you_.
It is the prerogative of easy poetry to be understood as long as the
language lasts; but modes of speech, which owe their prevalence only to
modish folly, or to the eminence of those that use them, die away with
their inventors, and their meaning, in a few years, is no longer known.
Easy poetry is commonly sought in petty compositions upon minute
subjects; but ease, though it excludes pomp, will admit greatness. Many
lines in Cato's soliloquy are at once easy and sublime:
'Tis the Divinity that stirs within us;
'Tis Heaven itself that points out an hereafter,
And intimates eternity to man.
--If there's a Power above us,
And that there is all Nature cries aloud
Through all her works, he must delight in virtue,
And that which he delights in must be happy.
Nor is ease more contrary to wit than to sublimity; the celebrated
stanza of Cowley, on a lady elaborately dressed, loses nothing of its
freedom by the spirit of the sentiment: