PAMPHLETS AND SKETCHES. Pamphlets AND Sketches / : BY THE RIGHT HON. LORD LYTTON LONDON GEORGE ROUTLEDGE AND SONS THE BROADWAY, LIT) GATE NEW YOEK : 416 BROOME STREET 1S75 LONDON BRADBURY, AGXFW, & CO., PRINTERS, WHITEFRIARS. / PBEFATOKY NOTE TO THE KNEBWOETH EDITION. The half-dozen pieces comprised in this volume are given for the most part in the chronological order in which they originally appeared. The Letter upon the Political Crisis of 1834 had an extraordinary success at the time of its first publication, enjoying, besides this, the repute of having considerably influenced the General Election, which immediately after- wards led to a change of government. How it was that the " Confessions of a Water-Patient " came to be written at all may be here explained. Mr. Harrison Ainsworth having, in 1845, purchased the New Monthly Magazine, applied to Sir Edward Lytton, with whom he had long been on terms of intimacy, and who had himself been a former editor of that periodical, to aid his new enterprise with a contribution. In com- pliance with this request, these Experiences of the Water Cure were jotted down in the form of a letter addressed to Mr. Ainsworth, as editor of the New Monthly. Grateful for so welcome a contribution, the romancist of " Rook- wood" begged his brother author's acceptance of two antique suits of armour, which still adorn the banqueting- hall at Knebworth. As for the "Letters to John Bull," which appeared from the press in 1851, they were the vindication of the writer's views as an agriculturist and a politician, or, as he ex- pressed it by his signature, as a landlord and a labourer — views consistently maintained by him during seventeen years consecutively. The publication of these Letters was chiefly important to himself, as preparing the way for VI PREFACE. his return to the House of Commons (after an absence from it of eleven years) in his capacity as the Conserva- tive member for Hertfordshire. The " Life of Schiller " originally appeared as a prefix to the translations of the poems and ballads of the great German lyrist, when, in 1845, they were first collected together, after their piecemeal issue in the pages of BlackivoooV s Magazine. Similarly the essay illustrative of the " Causes of Horace's Popularity,' ' having first appeared as a contribution to Maga, was, in 1849, placed, by way of Introduction, before Lord Lytton's unrhymed but rythmi- cal version of the Odes and Epodes published by the Messrs. Blackwood. The concluding pages in this volume, now first identified as from the hand of " Bulwer," appeared anonymously nearly forty years ago, that is, in 1838, in the first volume of the Monthly Chronicle. As an elaborate disquisition upon the Art of Fiction, penned in mid-career by one of the great masters of that art, it will, doubtless, be turned to with something of the same interest with which the reader might turn to a treatise of Paganini on the structure of a Straduarius, or to one by Sebastian Bach ■upon the subtleties of counterpoint. CONTENTS. PAGE The Present Ceisis 9 Confessions of a Water-Patient 49 Letters to John Bull, Esq .76 Life and Writings of Paul Lotjis Courier . . . 175 The Life of Schiller 195 The Causes of Hoeace's Pofularity 291 On Art in Fiction ........ 318 PAMPHLETS AND SKETCHES. THE PEESENT CRISIS. A LETTER TO A LATE CABINET MINISTER.* "But, my Lords, how is the King's Government to be carried on? " — The Duke of Wellington on the Reform Bill. " The general appearance of submission .... encouraged the King to remove from office the Marquis of Halifax, with whose liberal opinions he had recently, as well as early, been dissatisfied. As the King found that Halifax would not comply with his projects, he determined to dismiss him before the meeting of Parliament." — Mackintosh' s History of the Revolu- tion, chap, ii. My LoPvD, — The Duke of Wellington has obtained many victories, but he never yet has obtained a victory over the English People ! — That battle has now to be adventured ; it has been tried before, but in vain. On far worse ground the great Captain hazards it again ; for his first battle was to prevent giving power to the people ; the power obtained, his second is to resist it. It is the usual fate of fortunate warriors, that their old age is the sepulchre of their renown. No man has read the history of England without compas- sion for the hero of Anne's time. Marlborough in his glory, and Marlborough in his dotage ; what a satire in the con- trast ! With a genius for war, it may be, equal ; with a genius in peace, incontestably inferior ; with talents far less various ; with a knowledge of his times far less profound ; with his cunning and his boldness, without his eloquence and his skill, the Duke of Wellington has equalled the glory of Marlborough, — is he about to surpass his dotage ? * [Origina'ly published in 1834 as an 8vo pamphlet.] 10 THE PRESENT CRISIS. Marlborough was a trickster, but he sought only to trick a court ; has the Duke of Wellington a grander ambition, and would he trick a people ? " Like chimneys," said the wise man, " which are useful in winter and useless in sum- mer, soldiers are great in war, and valueless in peace." The chimney smokes again! — there is a shout from the philosophers who disagree with the wise man, " See how useful it is! " — but it smokes because it has kept the soot of the last century, and has just set the house in a blaze ! — the smoke of the chimney, in this instance, is only the first sign of the conflagration of the edifice. Let us, my Lord, examine the present state of affairs. Your Lordship is one of that portion of the late Ministry which has been considered most liberal. Acute, far-seeing, and accomplished, with abilities, which, exercised in a difficult position, have been singularly successful in the results they achieved, your Lordship is among those whose elevation to the Cabinet was hailed with a wider satisfac- tion than that of a party — and so short a time has elapsed between your accession and retirement, (expulsion would be the proper term,) that you are but little implicated in the faults or virtues of the administration, over whose grave I shall endeavour, in the course of this letter, to inscribe a just and impartial epitaph. I address to you, my Lord, these observations, as one interested alike in the preservation of order, and the establishment of a popular government — there may be a few who wish to purchase the one at the expense of the other ; you wish to unite them, and so do I. And we are both confident that such is yet the wish, — nay more — the assured hope, of the majority of the English people. The King has dissolved Lord Melbourne's Administra- tion, and the Duke of Wellington is at the head of affairs. Who will be his colleagues is a question that admits of no speculation. We are as certain of the list as if it were already in the Gazette. It is amusing to see the now ministerial journals giving out, that we are not on any account to suppose, that it must necessarily be a high Con- servative cabinet. God forbid so rash a conjecture ! " Who knows," say they, "but what many Whigs — many Liberals, will be a part of it ! We are only waiting for Sir Robert Peel, in order to show you, perhaps, that the Government THE PRESENT CRISIS. 11 will not be Tory ! " * So then, after all the Tory abuse of the Whigs — after all the assertions of their unpopularity, it is nevertheless convenient to insinuate that some of these most abominable men may yet chequer and relieve the too expectant and idolatrous adoration with which the people would be imbued for a Cabinet purely Conservative ! The several ambrosias of Wellington and Londonderry, of Herries and Peel, would be too strong for mortal tastes, if blended into one divine combination — so they might as well pop a Whig or two into the composition, just to make it fit for mankind ! The hypothesis may be convenient — but, unhappily, no one accepts it. Every man in the political world who sees an inch before his nose, is aware, that though his Grace may have an option with respect to measures, he has none with respect to men. He may filch away the Whig policy, but he cannot steal the Whigs them- selves without their consent. And the fact is notorious, that there is not a single man of liberal politics — a single man, who either belonged to the late government, or has supported popular measures, who will take office under the Duke of Wellington, charm he never so wisely. It is said, my Lord, by those who ought best to know, that even Lord Stanley, of whom, by the unthinking, a momentary doubt was entertained, scorns the very notion of a coalition with the Conservatives — a report I credit at once, because it is congenial to the unblemished integrity and haughty honour of the man. The Duke of Wellington, then, has no option as to the party he must co-invest with office — unless, in- deed, he strip himself of all power — abdicate the post of chef, and send up to his Majesty the very same bill of fare which has just been found so unpalatable to the royal tastes. This is not exactly probable. And we know, there- fore, even before Sir Robert Peel arrives, and whether Sir Robert Peel take office or whether he do not, — we know that his Grace's colleagues, or his Grace's nominees, can only be the dittos of himself — it is the Farce of Anti-Re- form once more, by Mr. Sarum and his family — it is the old company again, and with the old motto " Vivant Rex et Regina ! " Now-a-days, even in farces, the loyalty of * " It is possible his Grace may think that some of the "Whig leaders who are abroad, or absent from London, are likely to form useful components of a new administration." — Standard. 12 THE PRESENT CRISIS. the play-bill does not suffice to carry the public. Thank God ! for the honour of political virtue, it is, and can be, no compromise of opinions ! — no intermixture of Whigs and Tories ! — not a single name to which the heart of the people ever for a moment responded will be found to re- lieve the well-known list of downright, thorough, uncom- promising enemies to all which concedes abuse to the demands of opinion. Your Lordship remembers in Virgil how iEneas meets suddenly with the souls of those who were to return to the earth they had before visited, after drinking deep enough of oblivion : so now how eager — how noisy — how anxious wait the Conservative shadows, for the happy hour that is to unite them to the substance of place. — Strepit omnis murmure campus ! * how they must fret and chafe for the appointed time ! — but in the meanwhile have they drauk of the Lethe ? If they have, unhappily the world to which they return has not had a similar advantage ; they are escaped from their purgatory before the appointed time — for the date which Virgil, and we, gave them, in order completely to cleanse their past misdeeds, was — a thousand years ! In the mean- while there they stand ! mistaken, unequivocal ! — Happy rogues — behold them, in the elysium of their hopes, perched upon little red boxes, tied together by little red strings — " Iterumque in tarda reverti Corpora ; qua? hicis miseris tarn dira cupido ! " f Well may the Times and the Tories say they will be " an united Cabinet:" — united they always were in their own good days of the Liverpool ascendancy — united to take office at every risk — to seize all they can get — to give nothing that they can refuse ! — My God ! what delight among the subordinate scramblers to see before them once more the prospect of a quarter's salary ! — They have been out of service a long time — their pride is down — they are willing to be hired by the job ; — a job too of the nature of their old services ; for, without being a prophet, one may venture to predict that they will have little enough to do * [And all the plain buzzes with their humming noise.] f [And enter again into inactive bodies ; what direful loye of the light possesses the miserable beings !] THE PEESENT CRISIS. 13 for their money ! When working- day commences with the next session of Parliament they will receive their wages and their discharge. They have gone into sinecures again ! honest fellows ! they are making quick use of the Poor Law bill — in which it is ordained that able-bodied paupers out of employ should be taken in doors for relief ! And yet I confess, there is something melancholy as well as ludicrous, in the avidity of these desperadoes. — The great Florentine historian informs us, with solemn indignation, (as something till then unheard of in the corruption of human nature,) that in the time of the plague there were certain men who rejoiced, for it was an excellent time for pillage ! — the people perished, but the brigands throve ! — And nothing, we might imagine at first, could exceed the baseness of those who sought to enrich themselves amidst the general affliction. But on consideration, we must deem those men still baser who do not find — but who create — the disorder ; — and who not only profit by the danger of the public — but in order to obtain the profit, produce the danger ! — For, my Lord, there are two propositions which I hold to be incontestable : — first, that the late resolution of the King, if sudden in effect, was the result of a pre- vious and secret understanding that the Tories would accept office ; and that his Majesty never came to the de- termination of dismissing my Lord Melbourne, until he had ascertained, mediately or immediately — (it matters not which, nor how long ago) — that the Duke of Wellington was not only prepared to advise the King as to his suc- cessor, but could actually pledge himself to form a Ministry. I grant that this is denied, though feebly, by the Conser- vative journals, but to what an alternative would belief in that denial reduce us ! Can we deem so meanly of the royal prudence, as to imagine that the King could dismiss one Government, without being assured that he could form another ? In what an awful situation would this empire be placed, could we attribute to his Majesty, with the Tory tellers of the tale, so utter a want of the commonest resources of discretion, — so reckless and improvident a lunacy ! But it may be granted, perhaps, that the King was aware that the Duke of Wellington ivould either undertake to form a Cabinet, or to advise his Majesty as to its forma- 14 THE PRESENT CRISIS. tion, whenever it should please the King to exercise his undoubted prerogative in the dismissal of Lord Melbourne, and yet be asserted that neither that understanding nor that dismissal was the result of intrigue. Doubtless! Who knows so little of a Court as to suppose that an in- trigue is ever carried on within its precincts ? Is not that the place, above all others, where the secret whisper, the tranquil hint, the words that never commit the speaker, the invisible writing and automaton talking of diplomacy, are never known ! It is never in a Court that an intrigue is formed ; and the reason is obvious — because they have always another name for it ! There was no intrigue then. Why should there be one ? The King might never have spoken to the Duke of Wellington on the subject — the Duke of Wellington might be perfectly unaware of what time or on what pretext Lord Melbourne would be dis- missed ; and yet the King might, and must, (for who can say a King has not common sense ?) have known that the Duke would accept office whenever Lord Melbourne was dismissed ; and the Duke have known, on his part, that the King was aware of that loyal determination. This is so plain a view of the case, that it requires no state explana- tions to convince us of it, or persuade us out of it. The Duke, then, and his colleagues were willing to accept office : on the knowledge of that willingness the King exercised his prerogative, and since we now see no other adviser of the Crown, it is his Grace alone whom we must consider responsible for the coming experiment, which is to back the House of Lords against the Repre- sentatives of the People. I hold it as a second and incontestable proposition, that in this experiment there is danger, were it only for Ireland — the struggle has begun — the people have not been the first to commence — they will be the last to leave it. It is a struggle between the Court and the People. My Lord, recollect that fearful passage, half tragedy, half burlesque, in the history of France 9 which we now see renewed in England — when Mirabeau rose up in the midst of an assembly suddenly dissolved, and the nation beheld the tiers etat on one side, and the Master of the Ceremo- nies on the other ! The Duke of Wellington is guiltless of the lore of history, THE PRESENT CRISIS, 15 not so his colleagues. I will concede the whole question of danger in the struggle about to be — I will subscribe to the wisdom of the experiment — I will renounce liberty itself — if Sir Robert Peel, so accomplished in letters — if Sir George Murray, so erudite in history, will but tell us of a single instance in which the people, having firmly obtained the ascendant power, — having held that power for two years, have, at the end of that period, spontaneously re- signed it. The English people have the power now, in their elections — an election is at hand — there is no army to awe, no despot to subdue, no enemy to embarrass them — will they, of their own accord, give back that power to the very men from whom they have wrenched it ? The notion is so preposterous that we can scarcely imagine the design of the new Cabinet to rest with the experiment of a new Parliament : it would seem as if they meditated the alter- native of governing without a Parliament at all — as if they would hazard again the attempt of the Stuarts ; as if the victor of Waterloo were already looking less to the conduct of the electors than to the loyalty of the army. In fact, this is not so wholly extravagant an expectation as it may seem. The Tories fear the people — why should the people not fear the Tories ? They call us desirous of a revolution — why may we not think they would crush that revolution in the bud, by a despotism ? Nor, for politicians without prin- ciple, would the attempt be so ridiculous as our pride might suppose. It seems to me, if they are resolved to govern us, that the sword would be the best sceptre. A resolute army, well disciplined, and well officered, with the Duke of Wel- lington at the head, would be a far more formidable enemy to the people than half a score hack officials in the council, and a legion of smooth-faced Conservatives, haranguing, bribing, promising, — abusing known reformers, and pro- mising unknown reforms, to the " ten-pound philosophers'' from the hustings : the latter experiment is ridiculous, the former is more grave and statesmanlike. If a Londonderry would have advised his Majesty to call in the Duke of Wellington, a Machiavelli would have told him in doing so to calculate on the army. Folly in these days, as in all others, can only be supported and rendered venerable by force. As vet we are lost in astonishment at the late changes : 16 THE PRESENT CRISIS. we are not angry, we are too much, amused, and too con- fident of our own strength to be angiy. So groundless seems the change, that people imagine it only to be fathomed by the most recondite conjectures. They are lost in a wilderness of surmise, and yet, I fancy, that the mystery is not difficult to solve. Let us for a moment leave Lord Althorp out of the ques- tion ; we will come to him by-and-by. Let us consider the question of reforming the Irish Church. England has two prominent causes of trouble : the one is the state of Ire- land, the other is her House of Lords. Now it is notorious that we cannot govern Ireland without a very efficient and thorough reform in the mighty grievance of her church ; it is equally notorious that that reform the House of Lords would reject. We foresaw this — we all knew that in six months the collision between the two Houses would come — we all knew that the Lords would reject that reform, and we all felt assured that Lord Melbourne would tell the King that he was not fit to be a minister if he could not carry it. There is the collision ! in that collision which would have yielded? Not the House of Commons. All politicians, even the least prophetic, must have foreseen this probability, this certainty. His Majesty (let us use our common sense) must have foreseen it too. Doubtless, his Majesty foresaw also that this was not the sole question of dispute, which his present administration, and his present House of Commons would have been compelled by public opinion to raise with the Hereditary Chamber, and his Majesty therefore resolved to take the earliest decorous opportunity of preventing the collision, not by gaining the Lords, but by dismissing the Commons, and he now hopes, by the assistance of the leader of the House of Lords, to make the attempt to govern his faithful subjects, not by the voice of that chamber they have chosen for themselves, but by that very assembly who were formerly in the habit of choosing for them. It is an attempt to solve our most difficult problem, an attempt to bring the two Houses into harmony with each other ; but it is on an unexpected prin- ciple. — There is an anecdote of Sheridan, that walking home one night, not altogether so sober as he should be, bo was suddenly accosted by a gentleman in the gutter, con- siderably more drunk than himself. " For the love of Grod, THE PRESENT CRISIS. 17 help me up ! M cried the stranger. " My dear Sir," hic- cuped Sheridan, " that is out of the question. I cannot help you up ; but (let us compromise the matter) I will lie down by you ! " The House of Lords is in the gutter — the House of Commons on its legs — the matter is to be compro- mised — the House of Commons is not to help up the House of Lords, but to lie down by its side ! Fate takes from us the leader of the Liberals in one House; — to supply the place, his Majesty gives us the leader of the Tories in the other. Prophetic exchange ! We are not to make our Lords reformers, but our representatives cease to be so ! Such is the royal experiment to prevent a collision. It is a very ingenious one ; but his Majesty has forgotten that Gatton and Lost wit hiel are no more. In the next election this question is to be tried, "Are the people of England to be governed according to the opinion of the House of Lords, or according to the principles of their own reform ! " That is the point at issue. Twist, pervert, construe it as you will — raise whatever cries in favour of the Church on one hand, or in abuse of the Whigs on the other, the question for the electors is ; — will they, or will they not, choose a House of Commons that shall pass the same votes as the Lords, and that shall not pass votes which the Lords would reject ? After having abolished the Gattons, will they make their whole House a Gatton ? Supposing then the King, from such evident reasons, to have resolved to get rid of his Ministers, at the first oppor- tunity,* — suddenly Lord Spencer dies, and the opportunity is afforded. There might have been a better one. Through- * And the Standard (Nov. 20th), the now official organ (and certainly an abler or a more eloquent the ministers could not have), frankly allows that the King has long been dissatisfied with the government — and even suggests the causes of that displeasure. " Lord Grey's administration," it says, "was at first perfect — (indeed! that is the first time we have heard the concession from such a quarter) — or if altered, altered only for the better by its purification from the to-all- intolerable ! Earl of Durham." But this halcyon state soon ceases, because liberal measures creep in, and chief among the causes of the King's dislike to his ministers, and therefore to the Commons, is, first, the Irish Church Bill, which the reader will remember was rejected by the House of Lords — the bill, not the rejection of it, is mightily displeasing to the King; and secondly, that change in the Irish Coercion Bill which allowed his Majesty's Irish subjects a Jury instead of a Court-Martial. This is termed by the Standard — u the Coercion Bill mangled into a mere mockery." — We* may see what sort of mangling we are likely to have, C 18 THE PRESENT CRISIS. out the whole history of England, since the principles of a constitutional government, and of a responsible adminis- tration, were established, in 1688, there is no parallel to the combination of circumstances attendant upon the pre- sent change. A parallel to a part of the case there may be, to the whole case there is none. The Cabinet assure the King of their power and willingness to carry on the government : the House of Commons, but recently elected, supports that Cabinet by the most decided majorities ; the Premier, not forced on the King by a party, but solicited by himself to accept office ; a time of profound repose ; no resignation tendered, no defeat incurred — the revenue in- creasing — quiet at home — peace abroad ; the political at- mosphere perfectly serene : — when lo, there dies a very old man, whose death every one has been long foreseeing — not a minister, but the father of a minister, which removes, not the Premier, but the Chancellor of the Exchequer, from the House of Commons to the House of Lords ! An event so long anticipated, does not confound the Cabinet. The premier is not aghast, he cannot be taken by surprise by an event so natural, and so anticipated, (for very old men will die !) he is provided with names to fill up the vacant posts of Chancellor of the Exchequer, and Leader of the House of Commons. He both feels and declares himself equally strong as ever ; he submits his new appointments to his Majesty. Let me imagine the reply. The King, we are informed, by the now ministerial organs, expresses the utmost satisfaction at Lord Melbourne and his Govern- ment ; he considers him the most honourable of men, and among the wisest of statesmen. Addressing him, then, after this fashion — " He does not affect to dissemble his love, And therefore lie kicks him down stairs." " My Lord : — you are an excellent man, very — but old Lord Spencer — he was a man seventy-six years old ; no one could suppose that at that age, an Earl would die ! You are an admirable minister, I am pleased with your measures; but old Lord Spencer is no more. It is a sudden, an unforeseen event. Who could imagine he would only live to seventy- six ? The revenue is prospering, the Cabinet is strong — our allies are faithful, you have the THE PRESENT CMSIS. 19 House of Commons at your back , but alas ! Lord Spencer is dead ! You cannot doubt my attachment to Eeform, but of course it depended on the life of Lord Spencer ? You have lost a Chancellor of the Exchequer ; you say, you can supply his place ; — but who can supply the place of the late Lord Spencer ? You have lost a leader of the House of Commons ; you have found another on whom you can depend ; but, my Lord, where shall we find another Earl Spencer, so aged, and so important as the Earl who is gone ! The life of the government, you are perfectly aware, was an annuity on the life of this unfortunate nobleman — he was only seventy-six! my love of liberal men, and liberal measures, is exceeding, and it was bound by the strongest tie, — the life of the late Lord Spencer. How can my people want Reform, now Lord Spencer is dead ? How can I support reforming ministers, when Lord Spencer has ceased to be ? The Duke of Wellington, you must be perfectly aware, is the only man to govern the country, which has just lost the owner of so fine a library, and so large an estate. It is true, that his Grace could not govern it before, but then Lord Spencer was in the way ! The untimely decease of that nobleman has altered the whole face of affairs. The people were not quite contented with the Whigs, because they did not go far enough ; but then — Lord Spencer was alive ! The people now will be satisfied with the Tories, because they do not go so far, for — Lord Spencer is dead ! A Tory ministry is necessary, it cannot get on without a Tory parliament ; and a Tory par- liament cannot be chosen without a Tory people. But, ministry, parliament, and people, what can they be but Tory, after so awful a dispensation of Providence as the death of the Earl of Spencer? My Lord, excuse my tears, and do me the favour to take this letter to the Duke of Wellington." Well, but it may be said, that it was not the death of this good old man, that so affected the King's arrange- ments ; it was the removal of Lord Althorp from the Com- mons. ;; What, is not that cause enough ? r ' cry the Tories. About as much cause as the one just assigned. "What, did not Lord Melbourne himself say, at the retirement of Lord Grey, that the return of Lord Althorp was indispen- sably necessary to his taking office?" Yery possibly. But there is this Little difference between the two cases ; in c 2 20 THE PRESENT CRISIS. the one, Lord Melbourne said, he could not carry on the government without Lord Althorp as leader of the Commons ; and in the other, he assured the King, that he could. The circumstances at the time which broke up Lord Grey's government, were such as raised the usual importance of Lord Althorp to a degree which every one saw must sub- side with the circumstances themselves. In the first place, it was understood, that Lord Althorp left the government, rather than pass an unpopular clause in the Coercion Bill, the passing of which certain circumstances rendered doubly distasteful to his mind ; that this led to the resignation of Earl Grey, and that Lord Althorp felt a natural and gene- rous scruple in resuming office after that resignation. The Members of the House of Commons came to their memo- rable requisition, because they looked upon Lord Althorp's resignation, as the consequence of his popular sentiments. They feared the vacancy he created could be filled only by a man of less liberal opinions, and they felt his return, in such circumstances, would be for the popular triumph, as his secession might be but a signal for a change of policy. Such were the circumstances under which Lord Melbourne, at that time, considered Lord Althorp's return to the leader- ship of the Commons as necessary to the stability of the government. But what circumstances in the late changes are analogous to these ? Is Lord Althorp now removed from office by popular sentiments, which rendered his return necessary for the triumph of his sentiments — not the use of his talents ? Is the Cabinet broken up ? Is the House of Commons declaring, that not even death shall tear it from its beloved leader ? What absurdity, to follow out the parallel ! Lord Althorp was called by the death of his venerable father to the House of Lords. His loss created no alarm for an alteration in our policy, broke up no cabinet, and disturbed no measures ; the prime minister was perfectly resigned to the event, and perfectly prepared with his succesor — a successor of the same principles, and if of less conciliatory manners, of equal experience, more comprehensive knowledge, and greater eloquence. * The King has a right to exercise his prerogative — no one dis- * In the best informed political circles it is understood that Lord John Kussell would have led the House of Commons and had the conduct of the Irish Church Bill. Mr. Abercromby would have taken charge of the Muni- o THE PRESENT CRISIS. 21 putes it. It is only a misfortune that other ministers have not also fathers of seventy-six ! Old Sir Robert, good Lord Mornington — would that they were alive ! And having now to all plain men shown how utterly burlesque is the whole pretext of the dismissal, and the whole parallel between Lord Althorp's former retirement and present elevation, let us turn again from the reason of the change to the change itself. There are some persons simple enough to imagine that though the Tory government may imply Tory men it does not imply Tory measures ; that the Duke of Wellington, having changed his sentiments (no, not his sentiments, — his actions) — on the Catholic question, will change them again upon matters like — the reform of the Protestant Church, the abuses of corporations, perhaps even triennial parliaments, and the purgation of the pension list ! There are men, calling themselves reformers, and blaming the Whigs as too moderate in reforms, not only vain enough to hope this, but candid enough to say that a government thus changing — no matter with what open and shameless profligacy — no matter with what insatiate lust of power, purchased by what unparalleled apostacy — that a govern- ment, thus changing, and therefore thus unprincipled, ought to receive the support of the people ! They would give their suffrage to the Duke of Wellington upon the very plea, that he will desert his opinions ; and declare that they will support him as a minister, if they can but be permitted to loathe him as an apostate. My Lord, I think differently on this point. Even were I able to persuade myself that the new Tory government would rival or outbid the Whigs in popular measures, I . would not support it. I might vote for their measures, but I would still attempt to remove the men. What ! is there nothing at which an honest and a generous people should revolt, in the spectacle of ministers suddenly turned traitors by the bribe of office — in the juggling by which men, opposing all measures of reform when out of place, will, the very next month, carry those measures if place depends upon it ? Would there be no evil in this to the morality of the people ? Would there be no poison in this cipal Reform. Names that on these questions in particular would have shown that the government were in earnest in their measures. 22 THE PRESENT CRISIS. to the stream of public opinion ? Would it be no national misfortune — no shock to order itself, (so much of which depends on confidence in its administrators,) to witness what sickening tergiversation, what indelible infamy, the vilest motives of place and power could inflict on the cha- racters of public men ? And to see the still more lament- able spectacle of a Parliament and a Press vindicating the infamy, and applauding the tergiversator ! Vain, for these new-light converts, would be the cant excuses of ' practical statesmen attending to the spirit of the age • — ' conforming to the wants of the time ' — ' yielding their theories to the power of the people ;' for these are the very excuses of which they have denied the validity ! If this argument be good for them in office, why did they deny, and scorn, and trample upon it out of office ? far more strong and cogent was it when they had only to withdraw opposition to mea- sures their theories disapproved, than when they themselves are spontaneously to frame those measures, administer them, and carry thern through. There could be but one interpre- tation to their change — one argument in their defence, and that is, — that they would not yield to reforms when nothing was to be got by it ; but that they would enforce reforms when they were paid for it — that they would not part with the birthright without the pottage, nor play the Judas without the fee ! I do not think so meanly of the high heart of England as to suppose that it would approve, even of good measures, from motives so shamelessly corrupt. And, for my own part, solemnly as I consider a thorough redress of her " monster grievance " necessary for the peace of Ireland, a reform of our own Church, and our own Corporations, and a thorough carrying out and consummation of the principles of our reform, desirable for the security and prosperity of England, I should consider these blessings purchased at too extravagant a rate, if the price were the degradation of public men — and the undying contempt for consistency, faith, and honour — for all that makes power sacred, and dignity of moral weight — which such an apostacy would evince. Never was liberty permanently served by the sacrifice of honesty. But this supposition, though industriously put forward by some politicians, unacquainted with what is best in our English nature, is, I think, utterly groundless. I do not THE PRESENT CRISIS. 23 attribute to the Duke of Wellington himself too rigid a political honesty. He, who after having stigmatized one day the Reform Bill, could undertake to carry it the next, may be supposed to have a mind, which, however locked and barred, the keys of state can open to conviction. But, let it be remembered, that his Grace stood then almost alone. All that was high and virtuous of his party refused to assist in his astonishing enterprise. From Sir Robert Peel to Sir Robert Inglis — from the moderate to the ultra- Tory — every man who had tasted the sweets of character, recoiled from so gross a contamination. His three days' government fell at once. Now he is wiser — doubtless he has formed a government — doubtless, he has contrived to embrace in it the men who refused before. I believe, for the honour of my countrymen, that they have not receded from their principles now, any more than they receded then. And those principles are anti-reforming. This is, then, their dilemma : either they will prosecute reform, or they will withhold it — either they will adhere to their former votes, or they will reverse them : in the one case, then, people of England, you will have uncom- promising anti-reformers at your head, — in the other, you will have ambitious and grasping traitors. Let them ex- tricate themselves from this dilemma if they can ! But, in fact, they have not this option. They are com- mitted in every way to their old principles ; they are com- mitted, first, to their own party, and secondly, to the King. Were they as liberal as the Whigs, their friends would desert them, perhaps his Majesty would dismiss them. Their friends are the High Church party. High Church is the war cry they raise — High Church the motto of their banner. What is the High Church party ? It is the party that is sworn to the abuses of the Church. Its members are pledged body and soul to the Bishops, and the Deans, and the Prebends, and the Universities, and the Orangemen of Ireland. They may give out that they think a great Church Reform is necessary ; vague ex- pression ! what is great to their eyes would be invisible to ours. Will they — let us come to the point, and I will single out one instance — will they curtail the Protestant Establishment of Catholic Ireland ? They have called the attempt " spoliation ; " will they turn "spoliators?" — If 24 THE PRESENT CRISIS. so, they lose their friends, for no man supposes that the Tory churchmen have a chemical affinity to the Duke of Wellington — they have no affinity but that of interest : if he offend their interests, he offends the party. Let him but say, " that church has no congregation, but it gives 1500?. a year to the parson ; I respect property — the property of the people — and they shall cease to pay, after the death of the incumbent, for receiving no benefit ; " and all the parsons of the country are in arms again st him ! What a moment to suppose that he could do justice in such a case, — with the cheers of the Orangemen, and the ravings of Lon- donderry, and Roden, and Wicklow ringing in his ears ! * As for the claims of the Dissenters, who can imagine they will be attended to by the man who has called them atheists ? He may swallow his words, but can he swallow his friends of the colleges ? He cannot lose his great per- manent support, the Church, for a temporary and hollow support which would forsake him the moment he had served its purpose. The Corporations — what hope of reform there ? Every politician knows the Corporations are the strongholds of Toryism, and many of the truest liberals supported the government till the Corporation reform should be passed, in order to see, safely carried a measure against Toryism, only less important than the Reform Bill. To reform the Corporations will be to betray his own fortresses. Is the Duke of Wellington the man to do this ? But it is not to isolated measures that we are to look — the contest is not for this reform or the other — the two parties stand forth clear and distinct — they are no parties of names, but parties of opposite and irreconcilable interests. With the Duke of Wellington are incorporated those who have an interest in what belongs to an aristocratic, in opposition to a popular goverment, and he can concede nothing, or as little as possible, calculated to weaken the interests of his partizans. He is the incarnation of the House of Lords in opposition to the voice of the House of Commons. * See too the extracts from the Duke's speeches appended to this letter. And while I am correcting th^se sheets (Friday, Nov. 21), in the Report of the Conservative Dinner in Kent, it is pleasing to find that the supporters of the Duke of Wellington are of opinion that the cause of the great sinecure of Ireland, is the cause of all England ! Very true — but one is the plaintiff in the cause, the other the defendant ! THE PRESENT CRISIS. 25 Were lie then a Reformer, the people would despise him, his friends would desert,* and we may add, the possibility that the King would dismiss him. His Majesty, we are assured, has no personal dislike to the late premier : he lauds him as the most honourable of men — he blows up his government, and scatters chaplets over the ruin. It was not a dislike to his person, but to his principles that ensured his dismissal. Perhaps, had that accomplished and able minister condescended ' to palter in a double sense ' — to equivocate and dissemble, to explain his means, but to disguise his objects, he might still be in office. But it is known in the political world that he was an honest statesman — that whatever was his last conference with the King, he did not disguise informer interviews that reform must be an act as well as name — that a government to be strong must be strong in public gratitude and confidence — and perhaps, with respect to the particular reform of the Irish church, he may have deli- cately remarked, that the late Commission sanctioned by the King was not to amuse but to satisfy the people — that if its Report furnished a list of sinecure livings, there would be no satisfaction in wondering at the number — that to ascertain the manner and amount of abuses is only the prelude to their redress. This is reported of Lord Mel- bourne. I believe it, though not a syllable about any reform might have been introduced at the exact period of his removal. These, then, were the sentiments that displeased his Majesty, and to these sentiments he preferred the Duke of Wellington. He chose these new ministers because they would do less than his late ones. He can only give them his countenance so long as they fulfil his expectations. I pass over as altogether frivolous and absurd the tittle- tattle of the day. The King might or not be displeased at the speeches of Lord Brougham, — true, they might have offended the royal taste, but scarcely the royal poli- tics — Heaven knows they were sufficiently conservative and sufficiently loyal ; — they were much of the same character as those his Majesty might hear whispered, not declaimed, from his next chancellor at his own table. Such as they * But he might suppose that the measure which lost a Tory would gain a liberal. Yes, for that measure only. The friend would be lost for ever, the enemy gained but for a night. 26 THE PRESENT CRISIS. were, they had nothing to do with his Majesty's resolve — if they had, he would have sent, not for the Duke of Wellington, but the Earl of Durham ! I pass over with equal indifference the gossip that attacks the family of his Majesty. I know enough of courts to be sensible that we, who do not belong to them, are rarely well informed as to the influences which prevail in that charmed orbit ; and I am sufficiently embued with the chivalry of an honest man not to charge women with errors of which they are probably innocent, and of the consequences of which they are almost invariably unaware. I can even conceive that were it true that his Majesty's royal consort, or the female part of his family, were able to exercise an influence over state affairs, they would be actuated by the most affec- tionate regard for his interests and his dignity. The views of women are necessarily confined to a narrow circle : their public opinion is not that of a wide and remote multitude. They are attracted, even in humble stations, by the " solemn plausibilities " of life — they feel an anxious interest for those connected with them, which often renders their judgment too morbidly jealous of the smallest ap- parent diminution of their splendour or their power. To imagine that the more firmly a monarch adheres to his prerogatives the more he secures his throne, is a mistake natural to their sex. If such of them as may be supposed to advise his Majesty did form and did act on such a belief, to my mind it would be a natural and even an excusable error. Neither while I lament the resolution of the King, am I blind to the circumstances of his situation. Called to the throne in times of singular difficulty — the advisers of his predecessor, whose reign had been peaceful and brilliant, on one side — a people dissatisfied with half reforms on the other — educated to consider the House of Lords at least as worthy of deference as the popular will — disappointed at finding that one concession, however great, could not content a people who demanded it, but as the means to an end — turning to the most powerful organ of the Press, and reading that his liberal Ministers were unpopular, and that the country cared not who composed its government — seeing before him but two parties, besides the government party — the one headed by the idol of that people he began to fear, and the other by the most illus- THE PRESENT CRISIS. 27 trious supporter of an order of things which in past times was the most favourable to monarchy; — I cannot deem it altogether as mnch a miracle as a misfortune that he should be induced to make the experiment he has risked. But I do feel indignation at those — not women, but men — grey-haired and practical politicians, who must have been aware, if nob of its utter futility, of its pregnant danger ; by whose assistance the King now adventures no holiday experiment. — For a poor vengeance or a worse ambition they are hazarding the monarchy itself; by playing the Knave they expose the King. " There are some men," says Bacon, " who are such great self-lovers, that they will burn down their neighbour's house to roast their own eggs in the embers." In the present instance their neigh- bour's house may be a palace ! For this is the danger — not (if the people be true to themselves) that the Duke of Wellington will crush liberty, but that the distrust of the Royal wisdom in the late events — the feeling of insecurity it produces — the abrupt exercise of one man's prerogative to change the whole face of our policy, domestic, foreign, and colonial, without any assigned reason greater than the demise of old Lord Spencer — the indignation for the aristocracy, if the Duke should head it against Reform — the contempt for the aristocracy if the Duke should countermarch it to Reform — the release of all extremes of more free opinions, on the return which must take place, sooner or later, of a liberal administration ; — the danger is, lest these and similar causes should in times, when all institutions have lost the venerable moss of custom, and are regarded solely for their utility — induce a desire for stronger innovations than these merely of reform. " Xo thing," said a man who may be called the prophet of revolutions, "destroys a monarchy while the people trust the King. Bat persons and things are too easily confounded, and to lose faith in the representative of an institution, forbodes the decease of the institution itself." Attached as I am by conviction to a monarchy for this country — an institution that I take the liberty humbly to say I have elsewhere vindicated, with more effect, perhaps, as coming from one known to embrace the cause of the people, than the more vehement declamations of slaves and courtiers —I view such a prospect with alarm, And not 28 THE PRESENT CRISIS. the less so, because Order is of more value than the Institutions which are but formed to guard it ; and in the artificial and complicated affairs of this country, a struggle against monarchy would cost the tranquillity of a generation. We are standing on a present, surrounded by fearful warnings from the past. The dismissal of a ministry too liberal for a King — too little liberal for the people, is to be found a common event in the stormiest pages of human history. It is like the parting with a common mediator, and leaves the two extremes to their own battle. And now, my Lord, before I speak of what ought to be, and I am convinced will be the conduct of the people, who are about to be made the judge of the question at issue, let me say a few words upon the Cabinet that is no more. I am not writing a panegyric on the Whigs — I leave that to men who wore their uniform and owned their leaders. I have never done so. In the palmiest days of their power, I stooped not the knee to them. By vote, pen, and speech, I have humbly but honestly asserted my own independence ; and I had my reward in the sarcasms and the depreciation of that party which seemed likely for the next quarter of a century to be the sole dispensers of the ordinary prizes of ambition. ISTo matter. I wanted not their favours, and could console myself for the thousand little obstacles, by which a powerful party can obstruct the parliamentary progress of one who will not adopt their errors. I do not write the panegyric of the Whig, and though I am not one of those who can be louder in vituperation when the power is over, than in warning before the offence is done, I have not, I own, the misplaced generosity to laud now the errors which I have always lamented. It cannot be denied, my Lord, or at least I cannot deny it, that the Whig government disappointed the people. And by the Whig government I refer to that of my Lord Grey. Not so much because it did not go far enough, as with some ill judged partizans is contended, but rather because it went too far. It went too far, my Lord, when its first act was to place Sir Charles Sutton in the Speaker's chair, — it went too far when it passed the Coercion Bill — it went too far when it defended Sinecures — it went too far when it marched its army to protect the Pension list. — It might have denied many popular changes — if it had THE PRESENT CRISIS. 29 not defended and enforced unpopular measures. — It could not do all that the people expected, but where was the necessity of doing what the people never dreamt of ? Some might have regretted when it was solely Whig — but how many were disgusted when it seemed three parts Tory ! Nor was this all — much that it did was badly done : there was a want of practical knowledge in the principle and the details of many of its measures — it often blundered and it often bungled. But these were the faults of a past Cabinet. The Cabinet of Lord Melbourne had not been tried. There was a vast difference between the two administrations, and that difference was this — in the one the more liberal party was the minority, in the other it was the majority. In the Cabinet of the late Premier, the weight of Sir John Hobhouse, Lord Duncannon, and the Earl of Mulgrave was added to the scale of the people. There was in the Cabinet just dissolved a majority of men whose very reputation was the popular voice, whose names were as wormwood to the Tories, and to whom it is amusing to contrast the language applied by the Tory Journals with that which greeted "in liquid lines mellinuously bland," the luke-warm reformers they supplanted. Lord Melbourne's Cabinet had not been tried — It is tried now — The King has dismissed it in favour of the Duke of Wellington ! His Majesty took the earliest opportunity and the faintest pretext in the royal power to prove that he thought it more liberal than the Cabinet which preceded it. If some cry out with the Tories — " Nay, what said Lord Brougham at the Edinburgh dinner ? " the answer is obvious. Without lending any gloss to the expressions of that singular and unfortunate speech, it is enough to remind the people that Lord Brougham, though a great orator and a great man, able to play many parts, cannot fill up the whole rdles of the Cabinet. Three other Cabinet ministers were present, Sir John Hobhouse, Mr. Ellice, Mr. Abercromby. Did they echo the sentiments of Lord Brougham ? No ; they declared only their sympathy with the sentiments of Lord Durham. They too lamented every hour that passed over "recognized and unreformed abuses ;" they adopted Lord Durham's principle as their own. The Chancellor, since he quoted so reverently the royal name, may have uttered the royal sentiments, but three of his 30 THE PKESENT CRISIS. colleagues before his very face uttered only the sentiments which were those of the people when they elected a re- formed parliament for the snpport of reforming ministers. By these three speakers, and not by the one speaker, are we to judge, then, in common fairness of what the government would have done. The majority of the Cabinet were of the principles of these speakers. Had even Lord Brougham been an obstacle to those principles when they came to be discussed in the Cabinet, Lord Brougham would have succumbed and not the principles. Of the condnct of that remarkable man it is not now necessary to speak ; nor is it by these hasty lines, nor perhaps by so nnable a hand, that so intricate a character can be accurately and profoundly analysed. When the time comes that may restore him to office, it will be the fitting season for shrewder judges of character than I am, to speak firmly and boldly of his merits or his faults. At present it is no slight blame to one so long in public life — so eminent and so active — to say that his friends consider him a riddle : if he be mis- construed, whose fault is it but his own? When the Delphic oracle could be interpreted two ways, what wonder that the world grew at last to consider it a cheat ! With Lor dMelbourne himself, it was my lot in early youth to be brought in contact, and, though our acquaint- ance has now altogether ceased, (for I am not one who seeks to refresh the memories of men in proportion as they become great,) I still retain a lively impression of his pro- fundity as a scholar — of his enthusiasm at generous senti- ments — and of that happy frame of mind he so peculiarly possesses, and of which the stuff of Statesmen is best made, at once practical and philosophical, large enough to con- ceive principles, — close enough to bring them to effect.* Could we disentangle and remove ourselves from the pre- sent, could we fancy ourselves in a future age, it might possibly be thus that an historian would describe him : — " Few persons could have been selected by a king, as prime minister, in those days of violent party, and of constant * I imagined Mm susceptible onl) T to the charge of indolence, and I once imputed to him that fault. On learning from those who can best judge, that in office at least the imputation was unjust, I took, long since, the opportunity of a new edition to efface it from the work in which the impu- tation was made. THE PRESENT CRISIS. 31 change, who were more fitted by nature and circumstances to act with the people, but for the King. A Politician pro- bably less ardent than sagacious, he was exactly the man to conform to the genius of a particular time ; — to know how far to go with prudence — where to stop with success ; not vehement iu temper, not inordinate in ambition, he was not likely to be hurried away by private objects, affections, or resentments. To the moment of his elevation as premier, it can scarcely be said of his political life that it affords one example of imprudence. 'Not to commit himself,' was at one time supposed to be his particular distinction. His philosophy was less that which deals with abstract doctrines than that which teaches how to command shifting and various circumstances. He seldom preceded his time, and never stopped short of it. Add to this, that with a search- ing knowledge of mankind, he may have sought to lead, but never to deceive, them. His was the high English statesmanship which had not recourse to wiles or artifice. He was one whom a king might have trusted, for he was not prone to deceive himself, and he would not deceive another. His judgment wary — his honour impregnable. Such was the minister who, if not altogether that which the people would have selected, seems precisely that which a king should have studied to preserve. He would not have led, as by a more bold and vigorous genius, Lord Durham, equally able, equally honest, with perhaps a yet deeper philosophy, the result of a more masculine and homely knowledge of mankind, and a more prophetic vision of the spirit of the age, might have done ; he would not have led the People to good government, but he would have marched with them side by side." Such, I believe, will be the outline of the character Lord Melbourne will bequeath to a calmer and more remote time. And this is not my belief alone. I observe that most of those independent members who had been gradually de- tached from the Cabinet of Lord Grey, looked with hope and friendly dispositions to that of his successor. In most of the recent public meetings and public dinners where the former Cabinet was freely blamed, there was a willingness to trust the later one. And even those who would have wreaked on the government their suspicions of the Chan- cellor were deterred by Lord Durham's honest eulogium on 32 THE PRESENT CRISIS. the Premier. This much then we must concede to the Melbourne administration. First, it went a step beyond Lord Grey's, it embraced the preponderating, instead of the lesser, number of men of the more vigorous and liberal policy. The faults of Lord Grey's government are not fairly chargeable upon it. Men of the independent party hoped more from it. Secondly, by what we know, it seems to have been in earnest as to its measures, for we know this, that the Corporation Reform was in preparation — that the Com- mission into the Irish Church had produced reports which were to be fairly acted upon — that a great measure of justice to Ireland was to be based upon the undeniable evidence which that Commission afforded of her wrongs. We know this, — and knowing no more, we see the Cabinet dissolved, — presumption in its favour, since we have seen its successor ! But, my Lord, if we may speak thus in favour of that Cabinet which your abilities adorned, and in hope of the services which it would have rendered us, we must not for- get that we are about in the approaching election, to have not the expectation of good government, but the power of securing it. We must demand from the candidates who are disposed to befriend and restore you, not vague assur- ances of support to one set of men or the other, to the principles of Lord Grey or those of Lord Melbourne, but to the principles of the people. Your friends must speak out, and boldly — they must place a wide distinction, by candid and explicit declarations, between themselves and their Tory antagonists. Sir Edward Sugden said at Cambridge that he was disposed to reform temperately all abuses. The Emperor of Russia would say the same. Your partizans must specify what abuses they will reform, and to what extent they will go. The people must see, on the one hand, defined reform, in order to despise indefinite reformers on the other. Let your friends come forward manfully and boldly as befits honest men in stirring times, and the same people who gave the last majority to Lord Grey, will give an equal support to a cabinet yet more liberal, and dismissed only because it was felt to be in earnest. I know what the conduct of all who are temperate and honest among re- formers ought to be. It is the cry of those who have com- THE PRESENT CRISIS. 33 promised themselves with, their constituents in their too implicit adherence to the measures of Lord Grey, that " All differences must cease — Whig and Radical must forget their small dissensions — all must unite against a common enemy." A convenient cry for them ; they are willing now to confound themselves with us, to take shelter under our popularity ! — For we, my Lord — and let this be a lesson to the next Parliament — we are safe. Of us who have not subscribed implicitly to Lord Grey's government — of us who have been more liberal than that government — of us who have not defended its errors, nor, what was worse, de- fended the errors of its Tory predecessors, — I do not believe that a single member will lose his seat ! The day of election will be to us a day of triumph. We have not enjoyed the emoluments and honours of a victorious party — we have not basked in the ministerial smiles — we have been depre- ciated by lame humour, as foolish and unthinking men, and stigmatized by a lamer calumny as revolutionary Destruc- tives. But we had our consolation — we have found it in our consistency and our conscience — in our own self- acquittal, and in the increased esteem of our constituents. And now they need our help ! Shall they have it ? I trust yes ! We can forgive jests at our expense, for nobody applauded them, and they were not echoed, my Lord, by the majority of the Cabinet. One man might disavow us — one man might not enter our house nor travel by our coach, (it is not we who have now pulled down the house, or upset the conveyance!) but three of his colleagues asserted our principles, and we felt that there spoke the preponderating voice of the ministry. I trust, and I feel assured, that we shall forget minor differences, when we have great and in- effaceable distinctions to encounter. I trust that we shall show we are sensible we have it now in our power to prove that we fought for no selfish cause — that we were not thinking of honours and office for ourselves — that we shall show we wished to make our principles, not our interests, triumphant ; — willing that others should be the agents for carrying them into effect. This should be our sentiment, and this our revenge. All men who care for liberty should unite — all private animosities, all partial jealousies should be merged. We should remember only that some of us have advocated good measures more than others; but that, L) 34 THE PRESENT CRISIS. the friends of the New Ministry have opposed all. Haroun Alraschid, the caliph of immortal memory, went out one night disguised, as was his wont, and attended by his favourite Giaffer ; — they pretended to be merchants in dis- tress, and asked charity. The next morning two candidates for a place in the customs appeared before the divan. The sultan gave the preference to one of them. " Sire," whis- pered Giaffer, " don't you recollect that that man only gave us a piece of silver when we asked for a piece of gold ? " " And don't you recollect," answered Haroun, "that the other man, when we asked for a piece of silver, called for a cudgel ? " Looking temperately back at the proceedings of the Whigs, we must confess that they have greater excuses, than at the time we were aware of. " Who shall read," says the proverb, "the inscrutable heart of kings ?" We could not tell now far the Monarch was with us : rumours and suspicions were afloat — but we were unwilling to believe them of William the Reformer. We imagined his Majesty, induced by secret and invisible advisers, might indeed be timid, and reluctant ; but we imagined, also, that the government, by firmness, might bias the royal judgment to a consistent and uniformly paternal policy. Many of us, (though, for my own part, I foresaw and fore- told'"" that the Tory party, so far from being crushed, were but biding their time, scotched not killed) — many of us supposed the Tories more humbled and more out of the reach of office, than the Cabinet, with a more prophetic vision, must have felt they were. With a House of Lords, which the Ministers had neither the power to command nor to reform — with a King, whose secret, and it may be stubborn inclinations, are now apparent, — surrounded by intrigues and cabals, and sensible that the alternative of a Tory government was not so impossible as the public believed, we must, in common candour, make many excuses for men, who, however inclined to the people, had also every natural desire to preserve the balance of the consti- tution — to maintain the second chamber, and to pay to the wishes of the King that deference,' which, as the third voice of the legislature, his Majesty is entitled to receive. * England and the English, THE PRESENT CRISIS. 35 Add to this, if they resigned office, the King would have had the excuse he has not now : he would have had no alternative but a Tory Cabinet ! It is true, however, that so beset with difficulties, their wisest course would have been to remember the end and origin of all government — have thrown themselves on the people and abided the con- sequences — and that, my Lord, is exactly what I believe your colleagues and yourself intended to do, and it is for that reason you are dismissed. A few months will show, a few months will allow you to explain yourselves ; but I should not address to your Lordship this letter — I should not commit myself to a vain prophecy — I should not volun- tarily incur your own contempt for my simplicity, if I had not the fullest reason to believe, that the occasion is only wanting to acquit yourself to the public. Considering these circumstances with candour — the situation of the last ministry — the dissolution of the pre- sent, and the reasons for that dissolution ; considering also the first enthusiasm of the Reform Bill, which induced so many members, with the purest motives, to place confi- dence in the men who had obtained it ; — we shall find now excuses for much of whatever temporising we may yet desire for the future to prevent : and to prevent it must be our object at the next election. On all such members of the Whig majority as will declare for the future for a more energetic and decided conduct, so as to lead the government through counteracting obstacles, and both encourage, if willing, and force it, if hesitating, to a straightforward and uncompromising policy, the elec- tors cannot but look with indulgence. Such candidates have only to own on their part, that any dallying with " recognized abuse " has been the result not of inclination, but of circumstance, and the difficulties of circumstance will be at once remembered. For those who will not make this avowal, whatever their name, they are but Tories at heart, and as such they must be considered. This is what the late Cabinet itself, if I have construed it rightly, must desire ; and if we act thus, with union and with firmness, with charity to others, but with justice to our principles, we shall return to the next Parliament a vast majority of men who will secure the establishment of a government that no intrigue can undermine, no oligarchy supplant; I) 2 36 THE PRESENT CRISIS. based upon a broad union of all reformers, and entitled to the gratitnde of the people, not by perpetually reminding it of one obligation, but by constantly feeding it with new ones. Of such a Cabinet I know that you, my Lord, will be one ; and I believe that you will find yourself not per- haps among all, but among many of your old companions, and no longer without the services of one man in particular whose name is the synonym of the people's confidence. Taught by experience,*"* there must then be no compromise with foes — no Whig organ holding out baits of office to Sir Robert Peel — no speeches of " little" having a successor in "less" — no crowding popular offices with Tory malcon- tents — no ceding to an anti-national interest, however venerable its name — no clipping to please the Lords — no refusing to nnfurl the sail when the wind is fair, unless Mrs. Partington will promise not to mop up the ocean ! At present we are without a government ; we have only a dictator. His Grace the Duke of Wellington outbids my Lord Brougham in versatility. He stands alone, the repre- sentative of all the offices of this great empire. India is in one pocket, our colonies in the other t — see him now at the Home Office, and now at the Horse Guards ; Law, State, and Army, each at his command — Jack of all trades, and master of none — but that of war ; — we ask for a cabinet, and see bnt a soldier. Meanwhile, eager and panting, flies the Courier to Sir Robert Peel ! — grave Sir Robert ! How well we can pic- ture his prudent face ! — with what solemn swiftness will he obey the call ! how demurely various must be his medita- tions ! — how ruffled his stately motions at the night-and- day celerity of his homeward progress ! Can this be the slow Sir Robert ? No ! I beg pardon ; he is not to discom- * And we have the assurance from one of the organs of the late ministers, in an article admirable for its temper and its tenets, that this lesson is already taught. " The leaders of the liberal party must have at last learned the utter futility of every attempt to conciliate the supporters of existing abuses — they must now know that secret enmity is ever watching the occa- sion of wounding them unawares, and that the public men who would con- tend against it can only maintain themselves by exhibiting a frank and full reliance on the popular support, and meriting it by an unflinching assertion of popular principles." — Globe, Nov. 17. f "' His grace will superintend generally the affairs of the government, till the return of Sir Robert Peel." So says the Morning Post. But the JPost isyery angry if any one else says the same. THE PRESENT CRISIS. 37 pose himself. I sec, by the papers, that it is only the Courier that is to go at " minute speed " — the Neophyte of Reform is to travel " by easy stages" — we must wait patiently his movements — God knows we shall want patience by and by ; his stages will be easy enough in the road the Times wishes him to travel ! The new political Hamlet ! — how applicable the situation of his parallel! — how well can his Horatio, (Twiss,) were he himself the courier, break forth with the exposition of the case — . . . . "For.inbras* Of un improved mettle hot and full, Sharks up a list of brainless resolutes For food and diet to some enterprise, That hath a stomach in't, which is no other, As it doth well appear unto the state, Hut to recover for us by strong hand, And terms compulsatory, our — ' offices.' '1 his, I take it, Is the main motive of our preparations, The source of this our watch, and the chief head Of this post-haste and romage in the land ! [Enter the Ghost of the old Tory Rule.] " 'Tis here — 'tis here — 'tis gone ! " [Xow appears Hamlet himself, arms folded, brow thoughtful. — Sir Robert iv as always a solemn man .'] [Enter the same Ghost of Tory Ascendancy, in the likeness of old Sir Robert.'] 11 My father's spirit in arms ! Thou eom'st in such a questionable shape, That I will speak to thee. Tell, Why thy canonized bones, hearsed in death, Have burst their cerements." Whereat good Horatio wooingly observes — " It beckons you to go away with it." Our Hamlet is in doubt. The Tory sway was an excellent thing when alive, but to follow the ghost now, may lead to the devil; nevertheless, Horatio says, shrewdly, " The very place puts toys of desperation, "Without more motive, into every brain!" * Fortinbras, Anglice " Strong Arm "—literally "the Duke." 38 THE PRESENT CRISIS. The temptation is too great, poor Hamlet is decoyed, and the wise Marcellus, (the Herries of the play,) disinterestedly observes, "Let's follow!" Alas ! we may well exclaim, then, with the soft Horatio, " To what issue will this come ? " And reply with the sensible Marcellus, who sums up the whole affair, " Something is rotten in the state of Denmark ! " We need not further pursue the parallel, though inviting, especially in that passage, where to be taken for a rat, is the prelude to destruction. Leave we Hamlet undisturbed to his soliloquy, " To be, or not to be — that is the question," And that question is unresolved. Will Sir Robert Peel commit himself at last—will he join the administration — will he, prudent and wary, set the hopes of his party, the reputation of his life, on the hazard of a die, thrown not for Whigs and Tories — but for Toryism, it is true, on the one hand, and a government far more energetic than Whig- gism on the other, with all the chances attendant on the upset of the tables in the meanwhile ? The game is not for the restoring, it is for the annihilation of the juste milieu ! If he joins the gamesters, let him ; we can yet give startling odds on the throw. But may he see dis- tinctly his position ! If he withdraw from this rash and ill-omened government, if he remain neutral, he holds the highest station in the eyes of the country, which one of his politics can ever hope to attain. It is true, that office may be out of his reach, but to men of a large and a generous ambition, there are higher dignities than those which office can bestow. He will stand a power in himself — a man true to principle, impervious to temptation ; he will vindi- cate nobly, not to this time only, but to posterity, his single change upon the Catholic Emancipation ; he will prove that no sordid considerations influenced that decision. He will stand alone and aloft, with more than the practical sense, with all the moral weight of Chateaubriand — one whom all parties must honour, whose counsels must be respected by the most liberal, as by the most Tory, cabinet. THE PRESENT CRISIS. 39 Great in his talents — greater in his position — greatest in his honour. But if he mix himself irrevocably with the insane and unprincipled politicians, who now seek either to deceive or subdue the people, he is lost for ever. That ministry have but this option, to refuse all reform and to brave the public, or to carry, in contempt of all honesty, measures at least as liberal as those which he, as well as they, opposed when proceeding from the Whigs. Will he be mad enough to do the one — will he be base enough to do the other ? Can he be a tyrant, or will he be a turn- coat ? His may be the ambition which moderate men have assigned to him — an ambition prudent and sincere : — His may be a name on which the posterity that reads of these eventful times, will look with approval and respect; — on the other hand, the alternative is not tempting — it is to be deemed the creature of office, and the dupe of the Duke of Wellington ! Imagine his situation, rising to support either the measures which must be carried by the soldiers, or those which would have been proposed by the Whigs — bully or hypocrite ; — what an alternative for one who can yet be (how few in this age may become the same !) a great man ! And this too, mainly from one quality that he has hitherto carried to that degree in which it becomes genius. That quality is Prudence ! all his reputation de- pends on his never being indiscreet! He is in the situation of a prude of a certain age, who precisely because she may be a saint, the world has a double delight in damning as a sinner. Sweet, tempted Innocence, beware the one false step ! turn from the old Duke ! list not the old Lord Eldon! allow not his Grace of Cumberland (irresistible seducer!) to come too near ! Susanna, Susanna, what lechers these Elders are ! But enough of speculation for the present on an uncer- tain event. We have only now to look to what is sure and that is a New Parliament.^ They hint at the policy * Since writing the above, it seems to be a growing opinion among men of all parries, that if' Sir Robert Peel join the Ministers, they will meet Parliament — for the sake of mntnal explanations ! — But the Duke is a prompt man, and lores to take us by surprise — we must be prepared ! Addendum to Third Edition. — And now we have additional reason to be prepared, and to acknowledge how little to-morrow can depend on the reports of to-day. ''We owe it to our readers to acknowledge that we have much less hope of a dissolution of parliament being dispensed with than we had on Saturday. 40 THE PRESENT CRISIS. of trying this : let them ! I think they would dissolve us the second day of our meeting ! And now, my Lord, deviating from the usual forms of correspondence, permit me, instead of addressing your Lord- ship, to turn for a few moments to our mutual friends — the Electors of England. I wish them clearly and distinctly to understand, the grounds and the results of the contest we are about to try. I do not write these lines for the purpose of converting the Conservatives — far from me so futile an attempt. With one illustrious example before our eyes, what man of sense can dream of the expediency of attempting to convert our foes? I write only to that great multitude of men of all grades of property and rank, who returned to the Reformed Parlia- ment its vast reforming majority. Thank God, that electoral body is as yet unaltered. Who knows, if it now neglect its duty, how long it may remain the same ! I have before spoken, Electors of England, of what seems to me likely to be your conduct. But let us enter into that speculation somewhat more minutely. There are some who tell us that you are indifferent to the late changes, and careless of the result, — who laugh at the word " Crisis " and disown its application. Are you yourselves, then, thoroughly awakened to your position, to the mighty destinies at your command ? I will not dwell at length upon the fearful anxiety with which your decision will be looked for in Foreign Nations ; for we must confess, that engrossed as we have lately been in domestic affairs, Foreign Nations have for us but a feeble and lukewarm interest. But we are still the great English people, the slightest change in whose constitutional policy vibrates from corner to corner of the civilized world. We are still that people, who have grown great, not by the extent of our possessions, not by the fertility of our soil, not by the wild ambition of our conquests ; but, by the success of our The caballing of the metropolitan members, and a repetition of the kind of display made on Friday at Stroud, may render it impossible for any govern- ment, not prepared to sacrifice the Xing, to go on -with the present House of Commons.*' — (Standard, Nov. 24.) Let other than the metropolitan members cabal ! Let there be other displays than those at Stroud. We see the force attached to the, e e demonstrations ; we have no cause to fear a dissolution : the threat does not awe us ; — we would not sacrifice the King, and therefore we would rescue him from his advisers. THE PRESENT CRISIS. 41 commerce, and the preservation of our liberties. The in- fluence of England has been that of a moral power, not derived from regal or oligarchic, or aristocratic ascendancy; but from the enterprise and character of her people. We are the Great Middle Class of Europe. When jSTapoleon called us a bourgeois nation, in one sense of the word he was right. What the middle class is to us, that we are to the world ! — a part of the body politic of civilization, re- mote alike from Ochlocracy^ and Despotism, and drawing its dignity — its power — its very breath — from its freedom. The Duke of Wellington and his band are to be in office : for when we are met with the cry, " Perhaps the Duke himself will not take office at all," what matters it to us whether he be before the stage or behind the scenes — whether he represent the borough himself, or appoint his nominees — the votes will be the same ! — The Duke and his band are to be in office ! what to the last hour have been their foreign politics ? — wherever tyranny the grossest was to be defended — wherever liberty the most moderate was to be assailed — there have they lent their aid ! The King of Holland trampling on his subjects was " our most ancient ally," whom ''nothing but the worst revolutionary doctrines could induce us to desert." Charles X. vainly urging his Ordinances against the Parliament and the Press at the point of the bayonet, was an "injured monarch," and the people " a rebellious mob." The despotism of Austria is an " admirable government" — with Russia it is "insolence" to interfere in behalf of Poland. Miguel himself, blackened by such crimes as the worst period of the Eoman empire cannot equal, is eulogized as " the illus- trious victim of foreign swords." Not the worst excesses that belong to despotism, from the bonds of the negro to the blood of a people, have been beneath the praises of your present government — not the most moderate resistance that belongs to liberty has escaped their stigma. This is no exaggeration ; chapter and verse, their very speeches are * Ochlocracy, Mob-rule ; the proper antithesis to democracy, which (though perverted from its true signification) is People-rule. Tories are often great ochlocrats, as their favourite mode of election, in which mobs are bought with beer, can testify. Lord Chandos's celebrated clause in the Eeform Bill was ochlocratic. Ochlocracy is the plebeian partner of oligarch v, carrying on the business under another name. The extremes meet, or, as the Eastern proverb informs us, when the serpent wants to seem innocent, it puts its tail in its mouth ! 42 THE PRESENT CRISIS. before us, and out of their own mouths do we condemn them. Can we then be insensible, little as we may regard our more subtle relations with foreign states — can we be insensible to the links which bind us with our fellow-crea- tures ; no matter in what region of the globe ? Can we feel slightly the universal magnitude of the interests now resting on our resolves ? Believe me, wherever the inso- lence of power is brooding on new restraints, wherever — some men, " in the chamber of dark thought," are forging fetters for other countries or their own — there is indeed a thrill of delight at the accession of the Duke of Wellington! But wherever Liberty struggles successfully, or suffers in vain — wherever Opinion has raised its voice — wherever Enlightenment is at war with Darkness, and Patience rising against Abuse — there will be but one feeling of terror at these changes, and one feeling of anxious hope for the resolution which you, through whose votes speaks the voice of England, may form at this awful crisis. Shall that decision be unworthy of you ? If we pass from foreign nations to Ireland, (which un- happily we have often considered as foreign to us,) what can we expect from the Duke of Wellington's tender mercies ? Recollect that there will be no peace for England while Ireland remains as it is. Cabinet after Cabinet has been displaced, change after change has convulsed us, mea- sures the most vital to England have been unavoidably postponed to discussion on Bills for Ireland ; night upon night, session upon session of precious time have been thrown away, because we have not done for Ireland what common sense would dictate to common justice. I have just returned from that country. I have seen matters with my own eyes. Having assuredly no sympathy with the question of Repeal, I have not sought the judgment of Repealers — of the two, I have rather solicited that of the Orangemen : for knowing by what arguments misgovern- ment can be assailed, I was anxious to learn, in its strong- hold, by what arguments misgovernment can be defended. And J declare solemnly, that it seems to me the universal sentiment of all parties, that Grod does not look down upon any corner of the earth in which the people are more supremely wretched, or in which a kind, fostering, and paternal government is more indispensably needed. That THE PRESENT CRISIS. 43 people arc Catholic. Hear what the Duke of Wellington deems necessary for them. " The object of the government, (for Ireland,) after the passing of the Roman Catholic Relief Bill, shonld have been to do all in their power to conciliate — whom ? The Protestants ! Every thing had been granted to the Roman Catholics that they conld require ! " — The Duke of Welling- ton's Speech. Hansard, p. 950, vol. xix. 3rd Series. Every- thing a people groaning under each species of exaction that ever took the name of religion can require ! This state- ment may delight the Orangemen, but will it content Ireland ? that is the question. As for the Orangemen themselves, with their Christian zeal, and their Mahometan method of enforcing it ; — with their — " here is our Koran," and "there is our sword," — they remind us only of that ingenious negro, to whom his master, detecting him in some offence, put the customary query — " What, sir, do you never make use of your bible ? " — " Yes, massa, me trap my razor on it sometime ! " So, with these gentlemen, they seem to think that the only use of the bible is to sharpen their steels upon it ! The story of the Negro recalls us to the Colonies : what effect will this change have upon the fate of the late Slave Population ? By our last accounts, the managers, instead of co-operating with the local authorities, were rather striving to exasperate the Negroes into conduct, which must produce a failure of that grand experiment of humanity. — The news arrives, — (just before Christmas too,' — what a season !) the managers see in office, the very men, who not only opposed the experiment, but who prophesied the failure : — they know well, that if the failure occur, it is not to them, that the new government will impute the blame — they know well that a prophet is rarely displeased with the misfortunes he foretells. Is there no danger in all this ? And shall we be told that this is no crisis ? that there is nothing critical in these changes — nothing to reverse or even to affect our relations with Ireland, the Colonies, and the Continent — nothing that we should lament, and nothing that we should fear ? And now, looking only to ourselves, is there nothing critical in the state of England ? You must remember that whatever parliament you elect 44 THE PRESENT CEISIS. will have the right of remodelling that parliament ! The same legislative power that reformed can un- reform. If you give to the Duke of Wellington a majority in the House of Commons, you give him the whole power of this Empire for six years. If a liberal House of Commons should ever go too far, you have a King and a House of Lords to stop the progress. If a conservative House of Commons should go too far in the opposite extreme, who will check its pro- ceedings ? You may talk of public opinion — you may talk of resistance — but when y oar three branches of the legisla- ture are against you, with what effect could you resist ? You might talk vehemently — could you act successfully ; — when you were no longer supported by your representatives, — when to act would be to rebel ! The law and the army would be both against you. How can you tell to what extent the one might be stretched or the other increased ? Vainly then would you say, "In our next parliament we will be wiser ; " in your next parliament the people might be no longer the electors ! There cannot be a doubt but that, if the parliament summoned by the Duke be inclined to support the Duke, the provisions of the Reform Bill will be changed. Slight alterations in the franchise — raising it where men are free, lowering it where men can be intimi- dated, making it different for towns and for agricultural districts, working out in detail the principles of Lord Chandos, may suffice to give you a constituency of slaves. This is no idle fear — the Reform Transformed will be the first play the new company will act, if you give them a stage — it is a piece they have got by heart ! Over and over again have they said at their clubs, in public and in private, that the Reform Bill ought to be altered.* They * And Lord Strangford seems to speak out pretty boldly at the Ashford dinner. " It was true that among the institutions of the country, there was something that might be amended and improved, but there was much more that required to be placed in its pristine state of purity. That that would come to pass he felt sure, when he saw so many around him thinking as he did," &c. Pristine state of purity! But what so pure as the rotten boroughs ? What so pure as the old parliamentary system ? And if the restoration of these immaculate blessings depends upon seeing "many around him who thought as he did," where will his Lordship find those of that philosophy, except in the party now in power ? It matters not what Lord Strangford meant should be restored to its pristine purity. He may say it was not the old parliamentary system. What was it then? Is there a single thing which the Reformed Parliament has altered that the people wish to see restored to u its pristine purity? " But then we are told that THE PRESENT CRISIS. 45 may now disavow any such, intention. Calling themselves reformers, they may swear to protect reform. Bat how can you believe them ? " Abu Rafe is witness to the fact, but who will be witness for Abu B/efe ? " * By their own con- fessions, if they call themselves reformers, they would be liars ; if they are false in one thing, will they not be false in another ? Are they to be trusted because they own they have been insincere ? If we desire to know in what light even the most honourable Tories consider public promises, shall we forget Sir George Murray and the dis- senters ? Do not fancy they will not hazard an attempt on your liberties — they will hazard it, if you place the House of Commons in their hands. "Whatever their fault, it is not that of a want of courage. You talk of Public Opinion — history tells us that public opinion can be kept down. It is the nature of slavery, that as it creeps on, it accustoms men to its yoke. They may feel, but they are not willing always to struggle. Where was the iron-hearted Public Opinion, that confronted the first Charles, threw its shield round the person of Hampden, abolished the star-chamber, and vindicated the rights of England, when, but a few years afterwards, a less accomplished and a more unprincipled monarch, sent Sydney to the block — judges decided against law — Parliament itself was suspended — and the tyrant of England was the pensioner of France ? The power of jDublic opinion woke afterwards in the reign of James II. but from how shameful a slumber — and to what even greater perils than that of domestic tyranny, had we not been exposed in the interval ! Nothing but the forbearance of the Continent itself saved us from falling a prey to whatever vigorous despot might have conceived the design. With the same angry, but impotent dejection with which Public Opinion beheld the country spoiled of its Parliament — its martyrs consigned to the block — its governors harlots, and its King a hireling — it saw, unavenged, the Dutch fleet riding up the Thames, — the war- ships of England burnt before the very eyes of her Capital, — and "the nation," to we are cot to judge the Duke by tlie language of his supporters. By what are we to judge of him then r Either by their language or his own: it is quite indifferent which. But perhaps Tory speeches are like witches' prayers, and are to be read backwards ! * Gibbon. 46 THE PJRESENT CRISIS. quote even Hume's courtly words, " though the King ever appeared but in sport (!) exrjosed to the ruin and ignominy of a foreign conquest. " Happily, Austria then was not as it is now — profound in policy, stern in purpose, indomitable in its hate to England ; Russia was not looking abroad for conquests, aspiring to the Indian Empire, and loathing the freemen who dare to interfere for Poland. We were saved, but not by your Public Opinion ! You may boast of the nineteenth century, and say, such things cannot happen to- day ; but the men of Cromwell's time boasted equally of the spirit of the seventeenth, and were equally confident, that liberty was eternal ? And even at this day have we not seen in France, how impotent is mere opinion ? Have not the French lost all the fruits of their Revolution ? Are not the Ordinances virtually carried ? and why ? Because the French parted with the power out of their own hands, under the idea that public opinion was a power sufficient in itself ? "When the man first persuaded the horse to try (by way of experiment) the saddle and bridle, what was his argument ? — "My good friend, you are much stronger than I am ; you can kick me off again if you don't like me — your will is quite enough to dislodge me; — come — the saddle — it is but a ride, recollect! — come, open your mouth — Lord have mercy, what fine teeth ! — how you could bite if I displeased you. So so, old boy !" — What's the moral ? The man is riding the horse to this day ! — Public opinion is but the expression of the prevalent power. The people have now the power, and public opinion is its voice; let them give away the power, and what is opinion ? — vox, (indeed,) et prceterea nihil — the voice and — nothing more ! It is madness itself in you, who have now the option of confirming or rejecting the Duke of Wellington's govern- ment, to hesitate in your choice. They tell you to try the men ; have you not tried them before ? Has not the work of reform been solely to undo what they have done ? If your late governments could not proceed more vigorously, who opposed them ? " Hark ! in the lobby hear a lion roar ; Say, Mr. Speaker, shall we shut the door? Or, Mr. Speaker, shall we let him in, To — try if we can turn him out again ! " You may say, that amongst the multiplicity of candidates THE PRESENT CRISIS. 47 who present themselves, and amongst the multiplicity of their promises, you may be unable to decide who will be your friends, who not. You have one test that cannot fail you. Ask them if they will support the Duke of Welling- ton. If they say " Yes, if he reform," you will know that they will support him if he apostatizes. He who sees no dishonour in apostacy, waits but his price to apostatize himself. " Away," said Mr. Canning, long since — " Away with the cant of measures, not men. The idle supposition, that it is the harness, not the horses that draw the chariot along." "In times of difficulty and danger, it is to the energy and character of individuals, that a nation must be indebted for its salvation ! " — the energy and character ! Doubtless, the Duke has at present energy and character ! I grant it ; but if he exert in your behalf the energy, will he keep the character ? or if he preserve his character, how will you like his energy ? Recollect that it is not for measures which you can foresee that caution is necessary, it is for measures that you cannot foresee ; it is not for what the Duke may profess to do, but for what he may dare to do, that you must not put yourselves under his command. Be not led away by some vague promises of taking off this tax, and lowering that. The empire is not for sale ! We, who gave twenty millions to purchase freedom for the negro, are not to accept a bribe for the barter of our own. One tax too may be taken off, but others may be put on ! They may talk to you of the first, but they will say nothing of the last ! Malt is a good thing, but even malt may be bought too dear. Did not the Tories blame Lord Al thorp for reducing taxation too much ? Are they the men likely to empty the Exchequer ? To drop a shilling in the street was the old trick of those who wanted to pick your pockets! Remember that you are not fighting the battle between Whigs and Tories ; if the Whigs return to office, they must be more than Whigs ; you are now fighting for things not men — for the real con- sequences of your reform. In your last election your grati- tude made you fight too much for names ; it was enough for your candidates to have served Lord Grey ; you must now return those who will serve the people. If you are lukewarm, if you are indifferent, if you succumb, you will deserve the worst. But if you exert yourselves once more, 48 THE PRESENT CRISIS. with the same honesty, the same zeal, the same firm and enlightened virtue as two years ago ensured your triumph, — wherever, both now and henceforth, men honour faith, or sympathise with liberty, there will be those who will record your struggle, and rejoice in its success. These are no exaggerated phrases : you may or may not be insensible to the character of the time ; — you may or may not be in- different to the changes that have taken place — but the next election, if Parliament be dissolved by a Tory minister, will make itself a Date in History, — recording one of those ominous conjunctions in "the Old Almanack*' by which we calculate the chronology of the human progress. And, my Lord, that the conduct and the victory of our countrymen will be, as they have been, the one firm and temperate, the other honourable and assured, I do, from my soul, believe. Two years may abundantly suffice to wreck a Government, or convert a King — but scarcely to change a People ! *» I have the honour to be, My Lord, With respect and consideration, Your Lordship's obedient servant, E. LYTTON BULWER. London, Nov. 21, 1834. CONFESSIONS OF A WATER-PATIENT,* IN A LETTER TO W. HARRISON AINSWOETH, ESQ., EDITOR OF THE "NEW MONTHLY MAGAZINE.'' Dear Mb. Editoe, — I am truly glad to see so worthily filled the presidency of one of the many chairs which our republic permits to criticism and letters — a dignity in which I had the honour to precede you, sub consule Planco, in the good days of William IV. I feel as if there were something ghost-like in my momentary return to my an- cient haunts, no longer in the editorial robe and purple, but addressing a new chief, and in great part, a new as- sembly : For the reading public is a creature of rapid growth — every five years a fresh generation pours forth from our institutes, our colleges, our schools, demanding, and filled with, fresh ideas, fresh principles and hopes : And the seas wash the place where Canute parleyed with the waves. All that interested the world, when to me (then Mr. Editor, now Mr. Editor's humble servant) contributors ad- dressed their articles — hot and seasoned for the month, and like all good articles to a periodical, " warranted not to keep," have passed away into the lumber-room, where those old maids, History and Criticism, hoard their scraps and relics, and where, amidst dust and silence, things old- fashioned ripen into antique. The roar of the Reform Bill is still, Fanny Kemble is Mrs. Butler, the "Hunchback " awaits upon our shelves the resuscitation of a new Julia ; poets of promise have become mute, Bubini sings no more, Macready is in the provinces ; " Punch " frisks it on the jocund throne of Sydney Smith, and over a domain once parcelled amongst many, reigns " Boz." Scattered and voiceless the old contributors — a new hum betrays the changing Babel of a new multitude. Gliding thus, I say, ghost-like, amidst the present race, busy and sanguine as the past, I feel that it best suits with a ghost's dignity, to appear but for an admonitory purpose ; not with the light and careless step of an ordinary visitor, * [Originally published in 1845 in the " New Monthly Magazine," from which it was shortly afterwards reprinted as a duodecimo of 98 pages.] E 50 CONFESSIONS OF A WATER-PATIENT. but with meaning stride, and finger upon lip. Ghosts, we know, have appeared to predict death — more gentle I, my apparition would only promise healing, and beckon not to graves and charnels, but to the Hygeian spring. And now that I am fairly on the ground, let us call to mind, Mr. Editor, the illustrious names which still over- shadow it at once with melancholy and fame. Your post has been filled by men, whose fate precludes the envy which their genius might excite. By Campbell, the high-souled and silver-tongued, and by Hook, from whom jest, and whim, and humour, flowed in so free and riotous a wave, that books confined and narrowed away the stream ; to read Hook is to wrong him. Nor can we think of your predecessors without remem- bering your rival, Hood, who, as the tree puts forth the most exuberant blossoms the year before its decay, showed the bloom and promise of his genius most when the worm was at the trunk. To us behind the scenes, to us who knew the men, how melancholy the contrast between the fresh and youthful intellect, the worn-out and broken frame ; for, despite what I have seen written, Campbell when taken at the right moment, was Campbell ever. ISTot capable, indeed, towards the last, of the same exertion, if manifested by those poor evidences of what is in us, that books parade, but still as powerful in his great and noble thoughts, in the oral poetry revealed by flashes and winged words, though unrounded into form. And Hook jested on the bed of death, as none but he could jest. And Hood ! who remembers not the tender pathos, the exquisite humanity, which spoke forth from his darkened room ? Alas ! what prolonged pangs, what heavy lassitude, what death in life did these men endure ! Here we are, Mr. Editor, in these days of cant and jargon, preaching up the education of the mind, forcing our children under melon-frames, and babbling to the labourer and mechanic, " Read, and read, and read," as if God had not given us muscles, and nerves, and bodies, subjected to exquisite pains as pleasures — as if the body were not to be cared for and cultivated as well as the mind ; as if health were no blessing instead of that capital good, without which all other blessings — save the hope of health eternal — grow flat and joyless ; as if the enjoyment CONFESSIONS OF A WATER-PATIENT. 51 of tlie world in which we are, was not far more closely linked with our physical than our mental selves ; as if we were better than maimed and imperfect men ; so long as our nerves are jaded and prostrate, our senses dim and heavy, our relationship with Nature abridged and thwarted by the jaundiced eye, and failing limb, and trembling hand ■ — the apothecary's shop between us and the sun ! For the mind, we admit, that to render it strong ated clear, habit and discipline are required ; — how deal we (especially we, Mr. Editor, of the London world — we of the literary craft — we of the restless, striving brotherhood) — how deal we with the body ? We carry it on with us, as a post-horse, from stage to stage — does it flag ? no rest ! give it ale or the spur. We begin to feel the frame break under us ; — we administer a drug, gain a temporary relief, shift the disorder from one part to another — forget our ailments in our excitemeuts, and when we pause at last, thoroughly shattered, with complaints grown chronic, diseases fastening to the organs, send for the doctors in good earnest, and die as your predecessors and your rival died, under combinations of long-neglected maladies, which could never have been known had we done for the body what we do for the mind — made it strong by discipline, and maintained it firm by habit. Not alone calling to recollection our departed friends, but looking over the vast field of suffering which those acquainted with the lives of men who think and labour cannot fail to behold around them, I confess, though I have something of Canning's disdain of professed philanthropists, and do not love every knife-grinder as much as if he were my brother — I confess, nevertheless, that I am filled with an ear- nest pity ; and an anxious desire seizes me to communicate to others that simple process of healing and well being which has passed under my own experience, and to which I grate- fully owe days no longer weary of the sun, and nights which no longer yearn for and yet dread the morrow. And now, Mr. Editor, I may be pardoned, I trust, if I illustrate by my own case the system I commend to others. I have been a workman in my day. I began to write and to toil, and to win some kind of a name, which I had the ambition to improve, while yet little more than a boy. With a strong love for study of books — with yet greater e 2 52 CONFESSIONS OF A WATER-PATIENT. desire to accomplish myself in the knowledge of men, for sixteen years I can conceive no life to have been more filled by occupation than mine. What time was not given to action was given to study ; what time not given to study, to action — labour in both ! To a constitution naturally far from strong, I allowed no pause nor respite. The wear and tear went on without intermission — the whirl of the wheel never ceased. Sometimes, indeed, thoroughly overpowered and ex- hausted, I sought for escape. The physicians said, " Travel," and I travelled. " Go into the country," and I went. But at such attempts at repose all my ailments gathered round me — made themselves far more palpable and felt. I had no resource but to fly from myself — to fly into the other world of books, or thought, or reverie — to live in some state of being less painful than my own. As long as I was always at work it seemed that I had no leisure to be ill. Quiet was my hell. At length the frame thus long neglected — patched up for awhile by drugs and doctors — put off and trifled with as an intrusive dun — like a dun who is in his rights — brought in its arrears — crushing and terrible — accumulated through long years. Worn out and wasted, the constitution seemed wholly inadequate to meet the demand. The exhaustion of toil and study had been completed by great anxiety and grief. I had watched with alternate hope and fear the lingering and mournful death-bed of my nearest relation and dearest friend — of the person around whom was entwined the strongest affection my life had known — and when all was over, I seemed scarcely to live myself. At this time, about the January of 1844, 1 was thoroughly shattered. The least attempt at exercise exhausted me. The nerves gave way at the most ordinary excitement — a chronic irritation of that vast surface we call the mucous membrane, which had defied for years all medical skill, rendered me continually liable to acute attacks, which from their repetition, and the increased feebleness of my frame, might at any time be fatal. Though free from any organic disease of the heart, its action was morbidly restless and painful. My sleep was without refreshment. At morning I rose more weary than I laid down to rest. CONFESSIONS OF A WATER -PATIENT. 53 Without fatiguing you and your readers further with the long a coliors of my complaints, I pass on to record my struggle to resist them. I have always had a great belief in the power of will. What a man determines to do — that in ninety-nine cases out of the hundred I hold that he succeeds in doing. I determined to have some insight into a knowledge I had never attained since manhood — the knowledge of health. I resolutely put away books and study, sought the airs which the physicians esteemed most healthful, and adopted the strict regimen on which all the children of Esculapius so wisely insist. In short, I maintained the same general habits as to hours, diet (with the exception of wine, which in moderate quantities seemed to me indispensable), and, so far as my strength would allow, of exercise, as I found afterwards instituted at hydropathic establishments. I dwell on this to forestall in some degree the common remark of persons not well acquainted with the medical agencies of water — that it is to the regular life which water-patients lead, and not to the element itself that they owe their recovery. Nevertheless I found that these changes, however salutary in theory, produced little, if any, practical amelioration in my health. All invalids know, perhaps, how difficult, under ordinary circumstances, is the alteration of habits from bad to good. The early rising, the walk before breakfast, so delicious in the feelings of freshness and vigour which they bestow upon the strong, often become punishments to the valetu- dinarian. Headache, langour, a sense of weariness over the eyes, a sinking of the whole system towards noon, which seemed imperiously to demand the dangerous aid of stimulants, were all that I obtained by the morning breeze and the languid stroll by the sea-shore. The suspension from study only afflicted me with intole- rable ennui, and added to the profound dejection of the spirits. The brain, so long accustomed to morbid activity, was but withdrawn from its usual occupations to invent horrors and chimeras. Over the pillow, vainly sought two hours before midnight, hovered no golden sleep. The absence of excitement, however unhealthy, only aggravated the symptoms of ill-health. It was at this time that I met by chance, in the library 54 CONFESSIONS OF A WATEK-PATIENT. at St. Leonard's, with Captain Claridge's work on the " Water Cure," as practised bj Priessnitz, at Graafenberg. Making allowance for certain exaggerations therein, which appeared evident to my common sense, enough still re- mained not only to captivate the imagination and flatter the hopes of an invalid, but to appeal with favour to his sober judgment. Till then, perfectly ignorant of the subject and the system, except by some such vague stories and good jests as had reached my ears in Germany, I resolved at least to read what more could be said in favour of the ariston udor, and examine dispassionately into its merits as a medi- cament. I was then under the advice of one of the first physicians of our age. I had consulted half the faculty. I had every reason to be grateful for the attention, and to be confident in the skill of those whose prescriptions had, from time to time, flattered my hopes and enriched the chemist. But the truth must be spoken — far from being better, I was sinking fast. Little remained to me to try in the great volume of the herbal. Seek what I would next, even if a quackery, it certainly might expedite my grave, but it could scarcely render life — at least the external life — more un joyous. Accordingly I examined, with such grave thought as a sick man brings to bear upon his case, all the grounds upon which to justify to myself an excursion to the snows of Silesia. But I own that in proportion as I found my faith in the system strengthen, I shrunk from the terrors of this long journey to the rugged region in which the probable lodging would be a labourer's cottage,^ and in which the Babel of a hundred languages (so agreeable to the health- ful delight in novelty — so appalling to the sickly despond- ency of a hypochondriac), would murmur and growl over a public table spread with no tempting condiments. Could I hope to find healing in my own land, and not too far from my own doctors in case of failure, I might indeed * Let me not disparage the fountain head of the water-cure, the parent institution of the great Preissnitz. I believe many of the earlier hardships complained of at Graafenberg have been removed or amended ; and such as remain, are no doubt well compensated by the vast experience and extra- ordinary tact of a man who will rank hereafter amongst the most illustrious discoverers who have ever benefited the human race. CONFESSIONS OF A WATER-PATIENT. 55 solicit the watery gods — but the journey. I who scarcely lived through a day without leech or potion ! — the long — gelid journey to Graafenberg — I should be sure to fall ill by the way — to be clutched and mismanaged by some Ger- man doctor —to deposit my bones in some dismal church- yard on the banks of Father "Rhine. While thus perplexed, I fell in with one of the pamphlets written by Doctor Wilson, of Malvern, and my doubts were solved. Here was an English doctor, who had him- self known more than my own sufferings, who, like myself, had found the pharmacopoeia in vain — who had spent ten months at Grraafenberg, and left all his complaints behind him — who, fraught with the experience he had acquired, not only in his own person, but from scientific examination of the cases under his eye, had transported the system to our native shores, and who proffered the proverbial salu- brity of Malvern air and its holy springs, to those who, like me, had ranged in vain from simple to mineral, and who had become bold by despair — bold enough to try if health, like truth, lay at the bottom of a well. I was not then aware that other institutions had been established in England of more or less fame. I saw in Doctor Wilson the first transporter — at least as a physician — of the Silesian system, and did not care to look out for other and later pupils of this innovating German school. I resolved then to betake myself to Malvern. On my way through town I paused, in the innocence of my heart, to inquire of some of the faculty if they thought the water-cure would suit my case. With one exception, they were unanimous in the vehemence of their denunciations. Granting even that in some cases, especially of rheuma- tism, hydropathy had produced a cure, to my complaints it was worse than inapplicable — it was highly dangerous — it would probably be fatal. I had not stamina for the treatment — it would fix chronic ailments into organic disease — surely it would be much better to try what I had not yet tried. What had I not yet tried ? A course of prussic acid ! Nothing was better for gastrite irritation, which was no doubt the main cause of my suffering ! If, however, I were obstinately bent upon so mad an experiment, Doctor Wilson was the last person I should go to. I was not 56 CONFESSIONS OF A WATER-PATIENT. deterred by all these intimidations, nor seduced by the salubrious allurements of the prussic acid under its scien- tific appellation of hydrocyanic. A little reflection taught me that the members of a learned profession are naturally the very persons least dis- posed to favour innovation upon the practices which cus- tom and prescription have rendered sacred in their eyes. A lawyer is not the person to consult upon bold reforms in jurisprudence. A physician can scarcely be expected to own that a Silesian peasant will cure with water the dis- eases which resist an armament of phials. And with re- gard to the peculiar objections to Doctor Wilson, T had read in his own pamphlet attacks upon the orthodox practice sufficient to account for — perhaps to justify — the disposition to depreciate him in return. Still my friends were anxious and fearful ; to please them I continued to inquire, though not of physicians, but of patients. I sought out some of those who had gone through the process. I sifted some of the cases of cure cited by Doctor Wilson. I found the account of the patients so encouraging, the cases quoted so authentic, that I grew impatient of the delay. I threw physic to the dogs, and went to Malvern. It is not my intention, Mr. Editor, to detail the course I underwent. The different resources of water as a medica- ment are to be found in many works easily to be obtained,* and well worth the study. In this letter I suppose myself to be addressing those as thoroughly unacquainted with the system as I was myself at the first, and I deal, therefore, only in generals. The first point which impressed and struck me was the extreme and utter innocence of the water-cure in skilful hands — in any hands, indeed, not thoroughly new to the system. Certainly when I went, I believed it to be a kill or cure system. I fancied it must be a very violent remedy — that it doubtless might effect great and magical cures — but that if it failed, it might be fatal. Now, I speak not alone of my own case, but of the im- mense number of cases I have seen — patients of all ages — all species and genera of disease — all kinds and conditions * The works of Drs. Johnson, (of Stansted-Beriy,) Weiss, Wilson, Gully, &c., as well as that of Capt. Claridge. CONFESSIONS OF A WATER-PATIENT. 57 of constitution, when I declare, upon my honour, that I never witnessed one dangerous symptom produced by the water-cure, whether at Doctor Wilson's or the other hy- dropathic institutions which I afterwards visited. And though unquestionably fatal consequences might occur from gross mismanagement, and as unquestionably have so occurred at various establishments, I am yet con- vinced that water in itself is so friendly to the human body, that it requires a very extraordinary degree of bungling, of ignorance, and presumption, to produce results really dangerous ; that a regular practitioner does more frequent mischief from the misapplication of even the simplest drugs, than a water doctor of very moderate experience does or can do, by the misapplication of his baths and friction. And here I must observe, that those portions of the treatment which appear to the uninitiated as the most perilous are really the safest,* and can be applied with the most impunity to the weakest constitutions ; whereas those which appear, from our greater familiarity with them, the least startling and most innocuous,t are those which require the greatest knowledge of general pathology and the indi- vidual constitution. I shall revert to this part of my subject before T conclude. The next thing that struck me was the extraordinary ease with which, under this system, good habits are acquired, and bad habits relinquished. The difficulty with which, under orthodox medical treatment, stimulants are aban- doned, is here not witnessed. Patients accustomed for half a century to live hard and high, wine- drinkers, spirit-bibbers, whom the regular phy- sician has sought in vain to reduce to a daily pint of sherry, here voluntarily resign all strong potations, after a day or two cease to feel the want of them, and reconcile them- selves to water as if they had drunk nothing else all their lives. Others, who have had recourse for years and years to medicine, — their potion in the morning, their cordial at noon, their pill before dinner, their narcotic at bedtime, cease to require these aids to life, as if by a charm. Nor this alone. Men to whom mental labour has been * Such as the wet-sheet packing, f The plunge-bath — the Douche. 58 CONFESSIONS OF A WATER-PATIENT. a necessary — who have existed on the excitement of the passions and the stir of the intellect— who have felt, these withdrawn, the prostration of the whole system — the lock to the wheel of the entire machine — return at once to the careless spirits of the boy in his first holiday. Here lies a great secret ; water thus skilfully adminis- tered is in itself a wonderful excitement, it supplies the place of all others — it operates powerfully and rapidly upon the nerves, sometimes to calm them, sometimes to irritate, but always to occupy. Hence follows a consequence which all patients have re- marked — the complete repose of the passions during the early stages of the cure ; they seem laid asleep as if by enchantment. The intellect shares the same rest ; after a short time, mental exertion becomes impossible ; even the memory grows far less tenacious of its painful impressions, cares and griefs are forgotten ; the sense of the present absorbs the past and future ; there is a certain freshness of youth which pervades the spirits, and lives upon the enjoy- ment of the actual hour. Thus the great agents of our mortal wear and tear — the passions and the mind — calmed into strange rest, — Nature seems to leave the body to its instinctive tendency, which is always towards recovery. All that interests and amuses is of a healthful character ; exercise, instead of being an unwilling drudgery, becomes the inevitable impulse of the frame braced and invigorated by the element. A series of reactions is continually going on — the willing exercise pro- duces refreshing rest, the refreshing rest willing exercise. The extraordinary effect which water taken early in the morning produces on the appetite is well known amongst those who have tried it, even before the water-cure was thought of ; an appetite it should be the care of the skilful doctor to check into moderate gratification ; the powers of nutrition become singularly strengthened, the blood grows rich and pure— the constitution is not only amended — it undergoes a change.* * Doctor Wilson observed to me once, very truly I think, that many regular physicians are beginning to own the effect of water as a stimulant who yet do not perceive its far more complicated and beneficial effects as an altera- tive. I may here remark, that eminent physicians are already borrowing largely from the details of the water-cure— recommending water "to be drunk CONFESSIONS OF A WATER-PATIENT. 59 The safety of the system, then, struck me first; — its power of replacing by healthful stimulants the morbid ones it withdrew, whether physical or moral, surprised me next ; that which thirdly impressed me was no less con- trary to all my preconceived notions. I had fancied that whether good or bad, the treatment must be one of great hardship, extremely repugnant and disagreeable. I won- dered at myself to find how soon it became so associated with pleasurable and grateful feelings as to dwell upon the mind amongst the happiest passages of existence. For my own part, despite all my ailments, or whatever may have been my cares, I have ever found exquisite pleasure in that sense of being which is, as it were, the conscience, the mirror, of the soul. I have known hours of as much and as vivid happiness as perhaps can fall to the lot of man ; but amongst all my most brilliant recollections I can recall no periods of enjoyment at once more hilarious and serene than the hours spent on the lonely hills of Malvern — none in which nature was so thoroughly possessed and appreciated. The rise from a sleep sound as childhood's — the im- patient rush into the open air, while the sun was fresh, and the birds first sang — the sense of an unwonted strength in every limb and nerve, which made so light of the steep ascent to the holy spring — the delicious sparkle of that morning draught — the green terrace on the brow of the mountain, with the rich landscape wide and far below — the breeze that once would have been so keen and biting, now but exhilarating the blood, and lifting the spirits into religious joy ; and this keen sentiment of present pleasure rounded by a hope sanctioned by all I felt in myself, and nearly all that I witnessed in others — that that very present was but the step — the threshold — into an unknown and delightful region of health and vigour ; — a disease and a care dropping from the frame and the heart at every stride. But here I must pause to own that if on the one hand the danger and discomforts of the cure are greatly ex- fasting— the use of the sitz, or hip-bath, &c. But these, however useful as aids in the treatment of maladies, cannot comprehend that extraordinary alterative which is produced by the various and complicated agencies of water, brought systematically, unintermittingly, and for a considerable period, to bear, not only upon the complaint, but the constitution. CO CONFESSIONS OF A WATER-PATIENT. aggerated (exaggerated is too weak a word) — so, on the other hand, as far as my own experience, which is perhaps not inconsiderable, extends, the enthusiastic advocates of the system have greatly misrepresented the duration of the curative process. I have read and heard of chronic diseases of long standing cured permanently in a very few weeks. I candidly confess that I have seen none such. I have, it is true, witnessed many chronic diseases perfectly cured — diseases which had been pronounced incurable by the first physicians, but the cure has been long and fluctuating. Persons so afflicted who try this system must arm them- selves with patience. The first effects of the process are indeed usually bracing, and inspire such feelings of general well-being, that some think they have only to returrfhome, and carry out the cure partially, to recover. A great mistake! — the alterative effects begin long after the bracing — a disturbance in the constitution takes place, prolonged more or less, and not till that ceases does the cure really begin. Not that the peculiar " crisis," sought for so vehemently by the German water- doctors, and usually under their hands manifested by boils and eruptions, is at all a neces- sary part of the cure — it is, indeed, as far as I have seen, of rare occurrence — but a critical action, not single, not confined to one period, or one series of phenomena, is at work, often undetected by the patient himself, during a considerable (and that the later) portion of the cure in most patients where the malady has been grave, and where the recovery becomes permanent. During this time the patient should be under the eye of his water-doctor. To conclude my own case: I stayed some nine or ten weeks at Malvern, and business, from which I could not escape, obliging me then to be in the neighbourhood of town, I continued the system seven weeks longer under Doctor Weiss, at Petersham ; during this latter period the agreeable phenomena which had characterised the former, the cheerfulness, the Hen etre, the consciousness of return- ing health vanished ; and were succeeded by great irrita- tion of the nerves, extreme fretfulness, and the usual characteristics of the constitutional disturbance to which I have referred. I had every reason, however, to be satisfied with the care and skill of Doctor Weiss, who fullv deserves CONFESSIONS OF A WATER-PATIENT. 61 the reputation he has acquired, and the attachment enter- tained towards him by his patients ; nor did my judgment ever despond or doubt of the ultimate benefits of the process. I emerged at last from these operations in no very portly condition. I was blanched and emaciated — washed out like a thrifty housewife's gown — but neither the bleaching nor the loss of weight had in the least impaired my strength ; on the contrary, all the muscles had grown as hard as iron, and I was become capable of great exercise without fatigue ; my cure was not effected, but I was compelled to go into Germany. On my return homewards I was seized with a severe cold, which rapidly passed into high fever. Fortunately I was within reach of Doctor Schmidt's magnificent hydro- pathic establishment at Boppart ; thither I caused myself to be conveyed ; and now I had occasion to experience the wonderful effect of the water-cure in acute cases ; slow in chronic disease, its beneficial operation in acute is imme- diate. In twenty-four hours all fever had subsided, and on the third day I resumed my journey, relieved from every symptom that had before prognosticated a tedious and perhaps alarming illness. And now came gradually, yet perceptibly, the good effects of the system I had undergone ; flesh and weight returned ; the sense of health became conscious and steady; I had every reason to bless the hour when I first sought the springs of Malvern. And, here I must observe, that it often happens that the patient makes but slight apparent improvement, when under the cure, compared with that which occurs subsequently. A water-doctor of repute at Brussels, indeed, said frankly to a grumbling patient, " I do not expect you to be well while here — it is only on leaving me that you will know if I have cured you.'' It is as the frame recovers from the agitation it under- goes, that it gathers round it powers utterly unknown to it before— as the plant watered by the rains of one season, betrays in the next the effect of the grateful dews. I had always suffered so severely in winter, that the severity of our last one gave me apprehensions, and I re- solved to seek shelter from my fears at my beloved Malvern. I here passed the most inclement period of the winter, not 62 CONFESSIONS OF A WATEK-PATIENT. only perfectly free from the colds, rheums, and catarrhs, which had hitherto visited me with the snows, but in the enjoyment of excellent health ; and I am persuaded that for those who are delicate, and who suffer much during the winter, there is no place where the cold is so little felt as at a water-cure establishment. I am persuaded, also, and in this I am borne out by the experience of most water-doctors, that the cure is most rapid and effectual during the cold season — from autumn through the winter. I am thoroughly convinced that con- sumption in its earlier stages can be more easily cured, and the predisposition more permanently eradicated by a winter spent at Malvern, under the care of Doctor Wilson, than by the timorous flight to Pisa or Madeira. It is by harden- ing rather than defending the tissues that we best secure them from disease. And now, to sum up, and to dismiss my egotistical re- velations ; — I desire in no way to overcolour my own case ; I do not say that when I first went to the water-cure I was afflicted with any disease immediately menacing to life — I say only that I was in that prolonged and chronic state of ill-health, which made life at the best extremely precarious — I do not say that I had any malady which the faculty could pronounce incurable — I say only that the most eminent men of the faculty had failed to cure me. I do not even now affect to boast of a perfect and complete deliverance from all my ailments — I cannot declare that a constitution naturally delicate has been rendered Herculean, or that the wear and tear of a whole manhood have been thoroughly repaired. What might have been the case had I not taken the cure at intervals, had I remained at it steadily for six or eight months without interruption, I cannot do more than con- jecture, but so strong is my belief that the result would have been completely successful, that I promise myself, whenever I can spare the leisure, a long renewal of the system. These admissions made, what have I gained meanwhile to justify my eulogies and my gratitude ? — an immense accumulation of the capital of health. Formerly, it was my favourite and querulous question to those who saw much of me, " Did you ever know me twelve hours without pain or CONFESSIONS OF A WATER-PATIENT. Go illness r" Now, instead of these being my constant com- panions, they are but my occasional visitors. I compare my old state and my present to the poverty of a man who has a shilling in his pocket, and whose poverty is therefore a struggle for life, with the occasional distresses of a man of £5000 a year, who sees but an appendage endangered, or a luxury abridged. All the good that I have gained, is wholly unlike what I have ever derived either from medicine or the German mineral baths : in the first place, it does not relieve a single malady alone, it pervades the whole frame ; in the second place, unless the habits are intemperate, it does not wear off as we return to our ordinary pursuits, so that those who make fair experiment of the system towards, or even after, the season of middle age, may, without exaggeration, find in the latter period of life (so far as freedom from suffering, and the calm enjoyment of physical being are concerned) a second — a younger youth ! And it is this profound con- viction which has induced me to volunteer these details, in the hope (I trust a pure and kindly one) to induce those, who more or less have suffered as I have done, to fly to the same rich and bountiful resources. We ransack the ends of the earth for drugs and minerals — we extract our potions from the deadliest poisons — but around us and about us, Nature, the great mother proffers the Hygeian fount, unsealed and accessible to all. Wher- ever the stream glides pure, wherever the spring sparkles fresh, there, for the vast proportion of the maladies which Art produces, Nature yields the benignant healing. It remains for me to say, merely as an observer, and solely with such authority as an observer altogether disin- terested, but, of course, without the least pretence to profes- sional science, may fairly claim, what class of diseases I have seen least, and what most, tractable to the operations of the water-cure, and how far enthusiasts appear to me to have over-estimated, how far sceptics have under- valued the effects of water as a medicament. There are those (most of the water doctors especially) who contend that all medicine by drugs is unnecessary — that water internally and outwardly applied suffices, under skilful management, for all complaints— that the time will come when the drug doctor will cease to receive a fee, when 64 CONFESSIONS OF A WATER-PATIENT. the apothecary will close his shop, and the water-cure be adopted in every hospital and by every family. Dreams and absurdities ! Even granting that the water- cure were capable of all the wonders ascribed to it, its process is so slow in most chronic cases — it usually requires such complete abstraction from care and business — it takes the active man so thoroughly out of his course of life, that a vast proportion of those engaged in worldly pursuits cannot hope to find the requisite leisure, There are also a large number of complaints (perhaps the majority) which yield so easily to a sparing use of drugs under a mode- rately competent practitioner, that the convenient plan of sending to the next chemist for your pill or potion can never be superseded, nor can I think it desirable that it should be. Moreover, as far as I have seen, there are complaints curable by medicine which the water-cure utterly fails to reach. The disorders wherein hydropathy appears to me to be the least effectual are, first, neuralgic pains, especially the monster pain of the Tic Doloreux. Not one instance of a cure in the latter by hydropathy has come under my own ob- servation, and I have only heard of one authentic case of recovery from it by that process. Secondly, paralysis of a grave character in persons of an advanced age. Thirdly, in tubercular consumption. As may be expected, in this stage of that melancholy disease, the water-cure utterly fails to restore, but I have known it even here prolong life, beyond all reasonable calculation, and astonishingly relieve the more oppressive symptoms. In all cases where the nervous exhaustion is great, and of long standing, and is accompanied with obstinate hy- pochondria ; hydropathy, if successful at all, is very slow in its benefits, and the patience of the sufferer is too often worn out before the favourable turn takes place. I have also noticed that obstinate and deep-rooted maladies in persons otherwise of very athletic frames seem to yield much more tardily to the water-cure than similar complaints in more delicate constitutions ; so that you will often see, of two persons afflicted with the same genera of complaints, the feeble and fragile one recover before the stout man with Atlantic shoulders evinces one symptom of amelioration. I must add, too, generally, that where the complaint is not CONFESSIONS OF A WATER-PATIENT. 65 functional, but clearly organic, I should deceive the patient if I could bid him hope from water more than what drugs may effect — viz., palliatives and relief. But medical science is not always unerring in its decisions on organic complaints, and many that have been pronounced to be such, yield to the searching and all penetrating influences of water. Those cases, on the other hand, in which the water-cure seems an absolute panacea, and in which the patient may commence with the most sanguine hopes, are, First, rheu- matism, however prolonged, however complicated. In this the cure is usually rapid — nearly always permament. Secondly, gout. Here its efficacy is little less startling to appearance than in the former case ; it seems to take up the disease by the roots ; it extracts the peculiar acid, which often appears in discolorations upon the sheets used in the application, or is ejected ill other modes. Bat here, judging always from cases subjected to my personal knowledge, I have not seen instances to justify the assertion of some water doctors that returns of the disease do not occur. The predisposi- tion — the tendency, has appeared to me to remain. The patient is liable to relapses — but T have invariably found them far less frequent, less lengthened, and readily sus- ceptible of simple and speedy cure, especially if the habits remain temperate. Thirdly, that wide and grisly family of affliction classed under the common name of dyspepsia. All derangements of the digestive organs, imperfect powers of nutrition — the malaise of an injured stomach, appear precisely the complaints on which the system takes firmest hold, and in which it effects those cures that convert existence from a burden into a blessing. Hence it follows that many nameless and countless com- plaints proceeding from derangement of the stomach, cease as that great machine is restored to order. I have seen disorders of the heart which have been pronounced organic by no inferior authorities of the profession, disappear in an incredibly short time — cases of incipient consumption, in which the seat is in the nutritious powers ; hemorrhages, and various congestions, shortness of breath, habitual fainting-fits, many of what are call act improperly nervous 66 CONFESSIONS OF A WATER- PATIENT. complaints, but which, in reality, are radiations from the main ganglionic spring ; the disorders produced by the abuse of powerful medicines, especially mercury and iodine, the loss of appetite, the dulled sense, and the shaking hand of intemperance, skin complaints, and the dire scourge of scrofula — all these seem to obtain from hydropathy relief — nay, absolute and unqualified cure, beyond not only the means of the most skilful drug doctor, but the hopes of the most sanguine patient.^ The cure may be divided into two branches — the process for acute complaints — that for chronic ; I have just referred to the last. - And great as are there its benefits, they seem commonplace beside the effect the system produces in acute complaints. Fever, including the scarlet and the typhus, influenza, measles, small-pox, the sudden and rapid disorders of children, are cured with a simplicity and pre- cision which must, I am persuaded, sooner or later, render the resources of the hydropathist the ordinary treatment for such acute complaints in the hospitals. The principal remedy here employed by the water-doctor is the wet- sheet packing, which excites such terror amongst the uninitiated, and which, of all the curatives adopted by hydropathy, is unquestionably the safest — the one that can be applied without danger to the greatest variety of cases, and which I do not hesitate to aver can rarely, if ever, be misapplied in any cases where the pulse is hard and high, and the skin dry and burning. I have found in conversation so much misapprehension of this very easy and very luxurious remedy, that I may be pardoned for re- explaining what has been explained so often. It is not, as people persist in supposing, that patients are put into wet sheets and there left to shiver. The sheets, after being saturated, are well wrung out — the patient quickly wrapped in them — several blankets tightly bandaged round, and a feather-bed placed at top ; * Amongst other complaints, I may add dropsy, which, in its simple state, and not as the crowning symptom of a worn-out constitution, I have known most successfully treated ; cases of slight paralysis ; and I have witnessed two instances of partial blindness, in which the sight was restored. I have never seen deafness cured by hydropathy, though I believe that one of the best German treatises on the water Cure, at Graafenberg, was written by a Prus- sian officer, whom Preissnitz relieved from that not least cheerless of human infirmities. CONFESSIONS OF A WATER-PATIENT. 67 thus, especially where there is the least fever, the first momentary chill is ]3romptly succeeded by a gradual and vivifying warmth, perfectly free from the irritation of dry heat — a delicious sense of ease is usually followed by sleep more agreeable than anodynes ever produced. It seems a positive cruelty to be relieved from this magic girdle in which pain is lulled and fever cooled, and watch- fulness lapped in slumber. The bath which succeeds, refreshes and braces the skin, which the operation relaxed and softened. They only who have tried this, after fatigue or in fever, can form the least notion of its pleasurable sensations, or of its extraordinary efficacy; nor is there anything startling or novel in its theory. In hospitals, now, water- dressings are found the best poultice to an inflamed member ; this expansion of the wet dressing is a poultice to the whole inflamed surface of the body. It does not differ greatly, except in its cleanliness and simplicity, from the old remedy of the ancients — the wrapping the body in the skins of animals newly slain, or placing it on dunghills, or immersing it, as now in Ger- many, in the soft slough of mud-baths. # Its theory is that of warmth and moisture, those friendliest agents to inflammatory disorders. In fact, I think it the duty of every man, on whom the lives of others depend, to make himself acquainted with at least this part of the water-cure : — the wet sheet is the true life-preserver. In the large majority of sudden in- flammatory complaints, the doctor at a distance, prompt measures indispensable, it will at the least arrest the disease, check the fever, till, if you prefer the drugs, the drugs can come — the remedy is at hand wherever you can find a bed and a jug of water ; and whatever else you may apprehend after a short visit to a hydropathic establishment, your fear of that bugbear — the wet sheet — is the first you banish. The only cases, I believe, where it can be positively mis- chievous is where the pulse scarcely beats — where the vital * A very eminent London physician, opposed generally to the water-cure, told me that he had effected a perfect cure in a case of inveterate leprosy, hy swathing the patient in wet lint covered with oil skin. This is the wet sheet packing, hut there are patients who would take kindly to wet lint, and shudder at the idea of a wet sheet ! 68 CONFESSIONS OF A WATER-PATIENT. sense is extremely low — where the inanition of the frame forbids the necessary reaction; — in cholera, and certain disorders of the chest and bronchia ; otherwise at all ages, from the infant to the octogenarian, it is equally applicable, and in most acute cases, equally innocent. Hydropathy being thus rapidly beneficial in acute dis- orders, it follows naturally that it will be quick as a cure in chronic complaints in proportion as acute symptoms are mixed with them, and slowest where such complaints are dull and lethargic — it will be slowest also where the nervous exhaustion is the greatest. With children, its effects can scarcely be exaggerated ; in them, the nervous system, not weakened by toil, grief, anxiety, and intemperance, lends itself to the gracious element as a young plant to the rains. When I now see some tender mother coddling, and physick- ing, and preserving from every breath of air, and swaddling in flannels, her pallid little ones, I long to pounce upon the callow brood, and bear them to the hills of Malvern, and the diamond fountain of St. Anne's — with what rosy faces and robust limbs I promise they shall return — alas ! I promise and preach in vain — the family apothecary is against me, and the progeny are doomed to rhubarb and the rickets. The water-cure as yet has had this evident injustice, — the patients resorting to it have mostly been desperate cases. So strong a notion prevails that it is a desperate remedy, that they only who have found all else fail have dragged themselves to the Bethesda Pools. That all thus not only abandoned by hope and the College, but weakened and poisoned by the violent medicines absorbed into their system for a score or so of years, — that all should not recover is not surprising ! The wonder is that the number of recoveries should be so great ; — that every now and then we should be surprised by the man whose untimely grave we predicted when we last saw him meeting us in the streets ruddy and stalwart, fresh from the springs of Graaf enberg, Boppart, Petersham, or Malvern. The remedy is not desperate ; it is simpler, I do not say than any dose, but than any course of medicine — it is infi- nitely more agreeable — it admits no remedies for the com- CONFESSIONS OF A WATER-PATIENT. 69 plaints which are inimical to the constitution. It bequeaths none of the maladies consequent on blue pill and mercury — on purgatives and drastics — on iodine and aconite — on leeches and the lancet. If it cures your complaint, it will assuredly strengthen your whole frame ; if it fails to cure your complaint, it can scarcely fail to improve your general system. As it acts, or ought, scientifically treated, to act, first on the system, lastly on the complaint, placing nature herself in the way to throw off the disease, so it constantly hap- pens that the patients at a hydropathic establishment will tell you that the disorder for which they came is not re- moved, but that in all other respects their health is better than they ever remember it to have been. Thus, I would not only recommend it to those who are sufferers from some grave disease, but to those who require merely the fillip, the alterative, or the bracing which they now often seek in vain in country air or a watering place. For such, three weeks at Malvern will do more than three months at Brighton or Boulogne ; for at the water-cure the whole life is one remedy ; the hours, the habits, the dis- cipline — not incompatible with gaiety and cheerfulness (the spirits of hydropathists are astounding, and in high spirits all things are amusement) tend perforce to train the body to the highest state of health of which it is capable. Compare this life, merchant, trader, man of busi- ness, escaping to the sea- shore, with that which you there lead — with your shrimps and your shell -fish, and your wine and your brown stout — with all which counteracts in the evening, the good of your morning dip and your noon- day stroll. What, I own, I should envy most, are the feelings of the robust, healthy man, only a little knocked down by his city cares or his town pleasures, after his second week at Dr. Wilson's establishment — yea, how I should envy the exqui- site pleasure which he would derive from that robustness made clear and sensible to him ; — the pure taste, the iron muscles, the exuberant spirits, the overflowing sense of life. If even to the weak and languid the water-cure gives hours of physical happiness which the pleasures of the grosser senses can never bestow, what would it give to the strong man, from whose eye it has but to lift the light film 70 CONFESSIONS OF A WATER-PATIENT. — in whose mechanism, attuned to joy, it but brushes away the grain of dust, or oils the solid wheel ! I must bring my letter to a close. I meant to address it through you, Mr. Editor, chiefly to our brethern — the over- jaded sons of toil and letters — behind whom I see the warning shades of departed martyrs. But it is applicable to all who ail — to all who would not only cure a complaint, but strengthen a system and prolong a life. To such, who will so far attach value to my authority, that they will acknowledge, at least, I am no interested witness — for I have no institution to establish — no pro- fession to build up — I have no eye to fees, my calling is but that of an observer — as an observer only do I speak, it may be with enthusiasm — but enthusiasm built on expe- rience and prompted by sympathy ; — to such, then, as may listen to me, I give this recommendation : pause if you please — inquire if you will — but do not consult your doctor. I have no doubt he is a most honest, excellent man — but you cannot expect a doctor of drugs to say other than that doctors of water are but quacks. Do not consult your doctor whether you shall try hydro- pathy, but find out some intelligent persons in whose shrewdness you can confide — who have been patients themselves at a hydropathic establishment. Better still, go for a few days — the cost is not much — into some such in- stitution yourself, look round, talk to the patients, examine with your own eyes, hear with your own ears, before you adventure the experiment. Become a witness before you are a patient ; if the evidence does not satisfy you, turn and flee. But if you venture, venture with a good heart and a stout faith. Hope, but not with presumption. Do not fancy that the disorder which has afflicted you for ten years ought to be cured in ten clays. Beware, above all, lest, alarmed by some phenomena which the searching ele- ment produces, you have recourse immediately to drugs to disperse them. The water-boils, for instance, which are sometimes, as I have before said, but by no means fre- quently, a critical symptom of the cure, are, in all cases that I have seen, cured easily by water, but may become extremely dangerous in the hands of your apothecary.* * I have no prejudice, as I have before implied, against the use of drugs, CONFESSIONS OF A WATER-PATIENT. 71 Most of the few solitary instances that have terminated fatally, to the prejudice of the water-cure, have been those in which the patient has gone from water to drugs. It is the axiom of the system, that water only cures what water produces. Do not leave a hydropathic establishment in the time of any " crisis," however much you may be panic- stricken. Hold the doctor responsible for getting you out of what he gets you into ; and if your doctor be discreetly chosen, take my word he will do it. Do not begin to carry on the system at home, and under any eye but that of an experienced hydropathist. After you know the system, and the doctor knows you, the curative process may probably be continued at your own house with ease — but the commencement must be watched, and if a critical action ensues when you are at home, return to the only care that can conduct it safely to a happy issue. When at the institution, do not let the example of other patients tempt you to overdo — to drink more water, or take more baths than are prescribed to you. Above all, never let the eulogies which many will pass upon the douche (the popular bath), tempt you to take it on the sly, unknown to your adviser. The douche is dangerous when the body is though, despite their more merciful and sparing administration during the last twenty years, I venture, with such diffidence as becomes oue practised upon, not practising, to hint an opinion, that they are still applied more frequently than is warranted by their success on the complaint, or their effect on the constitution. But I am quite sure that a patient can rarely, with im- punity, be at once under a water doctor and a drug doctor ; and that the passage from the first to the last, requires the greatest nicety and caution. A physician, however skilful, who not only has not witnessed, but is inclined to deride that commotion which is produced in the system, especially on the nerves, by vigorous hydropathic treatment, can scarcely be aware of its nature and extent, nor how frequently medicines, quite innocuous with an ordinary patient, may become dangerous, misapplied to one fresh from a long course of hydropathy. Dr. "Weeding, of Eyde, it is true, sometimes unites drugs with the water-cure. As I never witnessed his treatment, so I can say nothing as to its effects. But granting them to be such as to warrant his de- parture from hydropathic theory and practice, it is one question whether a water-doctor, thoroughly acquainted with his own system, and minutely studying its effects on a particular patient, may or not, with advantage, occa- sionally administer drugs, and another question, whether a physician, wholly unacquainted with the water-cure, can be reasonably expected to deal, from his ordinary pathological experience, however great, with the peculiar symp- toms produced by a system of which he knows nothing, or with a constitu- tion rendered by the same system acutely sensitive to drugs, and in which a critical excitement, wholly out of his range of practice is probably at work. 1% CONFESSIONS OF A WATER-PATIENT. unprepared — when the heart is affected — when apoplexy- may be feared. After you leave the establishment, be slow and gradual in your return to all habits that require much intellectual labour, or subject you to much nervous harass- ment ; be slow, also, in your return to habits that neces- sitate late hours. If you drink wine or fermented liquors at all, be sparing in your first recurrence to them. Well for you if you adhere throughout life to water as your ordinary beverage, and make wine but your occasional luxury. At all events, let the constitution slowly settle back — do not hurry it back — to artifice from Nature. For your choice of an establishment you have a wide range. Institutions in England are now plentiful, and planted in some of the loveliest spots of our island. But as I only speak from personal knowledge, I can but here depose to such as I have visited. I hear, indeed, a high character of Doctor Johnson, of Stansted-Berry, and his books show great ability. Much is said in praise of Doctor Freeman, of Cheltenham, though his system, in some mea- surers at variance with the received notions of hydropathists. But of these and many others, perhaps no less worthy of confidence — such as the magnificent establishment at Ben Rhydding, in Yorkshire ; that at Grasmere, under Doctor Stumm ; and that at Ryde, in which Doctor Weeding seeks to unite hydropathy with drugs, &c, &c. — I have no expe- rience of my own. I have sojourned with advantage at Doctor Weiss's, at Petersham ; and for those whose busi- ness and avocations oblige them to be near London, his very agreeable house proffers many advantages, besides his own long practice and great skill. To those who wish to try the system abroad, and shrink from the long journey to Graafenberg, Dr. Schmidt, at Boppart, proffers a princely house, comprising every English comfort, amidst the noble scenery of the Rhine, and I can bear ready witness to his skill ; but it is natural that the place which has for me the most grateful recol- lections, should be that where I received the earliest and the greatest benefit, viz., Doctor Wilson's, at Malvern ; there even the distance from the capital has its advan- tages. The cure imperatively demands, at least in a large pro- portion of cases, abstraction from all the habitual cares of CONFESSIONS OF A WATER-PATIENT. 73 li-fe, and in some the very neighbourhood of London suffices to produce restlessness and anxiety. For certain com- plaints, especially those of children, and such as are at- tended with debility, the air of Malvern is in itself Hygeian. The water is immemorially celebrated for its purity — the landscape is a perpetual pleasure to the eye — the moun- tains furnish the exercise most suited to the cure — "Man muss Gebirge haben" "one must have mountains," is the saying of Preissnitz. All these are powerful auxiliaries, and yet all these are subordinate to the diligent, patient care — the minute, un- wearied attention — the anxious, unaffected interest, which Doctor Wilson manifests to every patient, from the hum- blest to the highest, who may be submitted to his care. The vast majority of difficult cures which I have witnessed, have emanated from his skill. A pupil of the celebrated Broussais, his anatomical knowledge is considerable, and his tact * in diseases seems intuitive ; he has that pure pleasure in his profession that the profits of it seem to be almost lost sight of, and having an independence of his own, his enthusiasm for the system he pursues is at least not based upon any mercenary speculation. I have seen him devote the same time and care to those whom his liberal heart has led him to treat gratuitously as to the wealthiest of his patients, and I mention this less to praise him for generosity than to show that he has that earnest faith in his own system, which begets an earnest faith in those to whom he administers ; in all new experiments, it is a great thing to have confidence, not only in the skill, but the sincerity, of your adviser. — His treatment is less violent and energetic than that in fashion on the continent. If he errs, it is on the side of caution, and his theory leads him so much towards the restoration of the whole system, that the relief of the particular malady will sometimes seem * I use the word "tact" advisedly; for I think the medical profession will bear me out in the observation, that a certain quality, which I can de- scribe by no other word, is as valuable, as it is rare in practice, and often makes the precise and scarce describable difference between one physician and another. To this Dr. Wilson joins a remarkable acuteness in his pre- dictions as to the nature and termination of complaints, which (as no man is less a charlatan) he, no doubt, owes in much to his knowledge of the human frame, and his careful education as a practitioner, — but towards which, I suppose, as in all other gifts, a natural faculty guides the acquired experience. 74 CONCESSIONS OP A WATER-PATIENT. tedious in order to prove complete. Hence he inspires in those who have had a prolonged experience of his treat- ment a great sense of safety and security. For your im- patient self, you might sometimes prefer the venture of a brisker process — for those in whom you are interested, and for whom you are fearful — you would not rjsk a step more hurried. And since there is no small responsibility in recommend- ing any practitioner of a novel school, so it is a comfort Jto know that whoever resorts to Doctor Wilson will at least be in hands not only practised and skilful, but wary and safe. He may fail in doing good, but I never met with a single patient who accused him of doing harm. And I cannot help adding, that though Mrs. Wilson does not interfere with the patients, it must be gratifying to such ladies as resort to Malvern to find in her the birth and manners of a perfect gentlewoman, and the noiseless solicitude of a heart genuinely kind and good ! Here then, brothers, afflicted ones, I bid you fare- well. I wish you one of the most blessed friendships man ever made — the familiar intimacy with Water. Not Undine in her virgin existence more sportive and bewitch- ing, not Undine in her wedded state more tender and faith- ful than the Element of which she is the type. In health may you find it the joyous playmate, in sickness the genial restorer and soft assuager. Round the healing spring still literally dwell the jocund nymphs in whom the Greek poetry personified Mirth and Ease. No drink, whether compounded of the gums and rosin of the old Falernian, or the alcohol and acid of modern wine, gives the animal spirits which rejoice the water- drinker. Let him who has to go through severe bodily fatigue try first whatever — wine, spirits, porter, beer — he may conceive most generous and supporting ; let him then go through the same toil with no draughts but from the crystal lymph, and if he does not acknowledge [that there is no beverage which man concocts so strengthening and animating as that which Grod pours forth to all the children of nature, I throw up my brief. Finally, as health depends upon healthful habits, let those who desire easily and luxuriously to glide into the courses most agreeable to the human frame, to enjoy the CONFESSIONS OF A WATER-PATIENT. 75 morning breeze, to grow epicures in the simple regimen, to become cased in armour against the vicissitudes of our changeful skies — to feel, and to shake off, light sleep as a blessed dew, let them, while the organs are jet sound, and the nerves yet unshattered, devote an autumn to the water- cure. And you, parents ! who, too indolent, too much slaves to custom, to endure change for yourselves, to renounce for awhile your artificial natures, but who still covet for your children hardy constitutions, pure tastes, and abstemious habits — who wish to see them grow up with a manly dis- dain of luxury — with a vigorous indifference to climate — with a full sense of the value of health, not alone for itself, but for the powers it elicits, and the virtues with which it is intimately connected — the serene, unfretful temper — the pleasure in innocent delights — the well-being that, content with self, expands in benevolence to others — you I adjure not to scorn the facile process of which I solicit the experi- ment. Dip your young heroes in the spring, and hold them not back by the heel. May my exhortations find believing listeners, and may some, now unknown to me, write me word from the green hills of Malvern, or the groves of Petersham, "We have hearkened to you — not in vain." Adieu, Mr. Editor, the ghost returns to silence. LETTERS TO JOHN BULL, Esq.* " Et itECKEAVERUNT vitam, legesque rogarunt." f Lucuet. 1. yi. 3. LETTER I. Dear and Respected John, — Although I deeply sympa- thise with your natural vexation at the troubled state of your Town Household in Downing Street, and although at other times, I might have much to say upon the disorders of that establishment, yet at this moment your rural affairs appear to me in a condition so bad and unpromising, as to claim all the attention which you can spare from your just quarrel with the Pope, and your hospitalities to the strangers you have invited to your Barmecide's feast on the banks of the Serpentine. I bear no ill-will, my dear John, to your present servants, they are horrible plagues to you, it is true, — but servants always are. I believe many of them to be extremely in- telligent, — I am sure that they are as honest as day. All they want is a comfortable situation — wages no object. And that, somehow or other, the situation is not comfortable, seems perfectly clear ; for though they've expressed them- selves ready to go, yet, when it comes to the point, nobody else appears anxious to step into their shoes. It used not to be so, my dear John : I remember the time when you could not discharge a servant from Downing Street but what his face was as long as my arm, and you had plenty to choose from, amongst applicants who were thoroughly up to their business. For this domestic dilemma of yours, so wounding to your pride and destructive to your peace, no doubt there are many causes ; but I suspect that the one most serious is this — you have allowed your town servants to regulate all * [Originally published in 1851 as an 8vo pamphlet.] t [And they renewed or remodelled life and secured or established laws.] LETTERS TO JOHN BULL, ESQ. 77 your country affairs, and they know just as much about them as — common sense might have told you ! They have thus got the poor land, on which, sooner or later, you are doomed to fall back for the expenses of housekeeping, into such a deuce of a mess, that I don't wonder they are willing to shift to others the task of hearing the complaint, and contriving the remedy ; while those who might otherwise be disposed to succeed, have the wit to perceive that it will be no easy matter to undo what is done, or restore what is — undone. For, unhappily, in the dispute so inevitably created between your town and country establishments, the neighbours of each have been called in to take part in the quarrel; and the question is, how to give content to the one side, without making the servants' hall too hot to con- tain the other. This I believe to be the true state of things. And this, my dear John, it behoves you to consider with that freedom from prejudice and passion which should characterise the head of a family when its peace is disturbed by dissensions. There drop we the metaphor, and enlarge the scope of our views. That the existing government cannot last as it is now composed, all men seem to admit. We may galvanise the lifeless muscles, — we may give to the worn-out frame the grimace and convulsion of simulated vitality; but the animal spark has fled. We feel that the body is only kept above ground for the purpose of philosophical experiment, and are quite indifferent to the shocks it receives or the gashes inflicted on it, because we say to ourselves, "It is a dead thing practised upon for a short time for the sake of the living.' ' Whether this Government, by some gentle metempsy- chosis, shall pass into another much resembling itself, — or whether the party it embraces shall rise into vigour and power as an antagonistical principle to some Government by which my Lord Derby may boldly replace it, — is a speculation that I leave to the hopes and the fears of others. I shun in these Letters all mere party questions. I stand alone from all party. I will not attack the Minister. I will not panegyrise the rival. I leave to those whose support, as the representatives of manufacturing and urban 78 LETTERS TO JOHN BULL, ESQ. populations, Lord John Russell unhesitatingly preferred to all terms with the agricultural constituencies, — the grateful task to extenuate his merits, and enforce his offences. To me his name is identified with the memory of imperishable services ; and I feel too much regret to differ from him, not to be reluctant to blame. If in him could yet be sup- plied what appears to me the main want of the time, there is no man I should be so proud — what ? — to follow as a Leader? No. To support as a Conciliator. What the time now demands is, not the Leader ; it is the Conciliator. Wherever I turn, I dread the chance of a chief who is to represent all the passions of class or the selfishness of interests, — wherever I turn, I see cause to desire that the Coming Man may covet, not the bays of the conqueror, but the oak wreath of the citizen. Is it not so, my dear John ? — pause and reflect ! Carry your eye from these figures in the front ; examine the vast background that lies beyond. Is it simple strife between two parties, in which each requires the strong hand and fierce heart of the captain, that meets your survey, and solicits your preference ? — No : everywhere you behold divisions between classes; jealousies, and feuds between national interests; and victory, pushed too far by the one against the other, will be a victory achieved over the country itself by its own sons, far worse than the fears of Lord Ellesmere could ever anticipate from the fleets and hosts of the foreigner. Penetrate the smoky atmosphere through which rise the tall chimneys of countless factories ; examine the heart of those mighty towns, in which all theories that affect the interests of labour are discussed with the passions which numbers speed and inflame ; where the spirit of an eternal election agitates the mass of the everlasting crowd — say, if there be not yet reserved for the Coming Man the consideration of social questions which no Factory Bill has yet settled ; which no Repeal of the Corn Laws, after its first novelty is worn away, can lull into rest ; and tell me whether it be better for the solution of these that the Man shall come as the leader or the conciliator ? What are become of our sanitary regulations ? Where are the reforms in the law ? Doomed to " lie in cold obstruc- tion, and to rot," till statesmen have time to conciliate, and till we can look to the forum and not find it a battle-field. LETTERS TO JOHN BULL, ESQ. 79 What have we done to regain the affections and arrest the min of our West Indian colonies ? What is the nature of the emigration now ponring into Australia and America ? Friendly to the mother country, or carrying thence all the bitterness engendered by that scorn of complaints which has compelled expatriation ? If our colonies are to be our foes or our friends, our weakness or strength, all depends on whether the Coming Man shall be the leader of a party or the conciliator of discontents that may dissolve an empire. Look to the state ' of the Church, with a schism that threatens far more peril to its future integrity and well- being than the petty questions of surplice and gown, which inflame congregations, and trouble the peace of bishops, So much of learning, of earnestness, of zeal, rising with each generation of Churchmen, that leaves the college for the pulpit, against the popular feeling, clashing with it, warring on it, and remaining within the camp, under its separate banner of mutiny, or deserting to the Roman Gonfalon, with all the arms of controversy it had found in the very arsenal which Oxford had established against the foe. " Atque, atque accedet muros Siomana juventus." — " And more and more Home's youth invades our walls." Woe to the Church, and woe to the peace of our religious community, if we are to have our statesmen of the laity appear as leaders for or against these spiritual factions of the Bianchi and jSTeri, in a war of which texts and citations are the ostensible weapons ! A Minister who has the con- fidence, not only of the Church, but of the main body of Protestant belief, might possibly be able to conciliate — if not, time and common sense will ultimately settle — these disputes, as they have hitherto settled all disputes among the clergy, where they are not whirled away and mixed up with the party passions of politicians. Behold the vast question of Popular Education, checked in the Legislature by the rival jealousies of Church and Dissenter, but daily and hourly, without-side the walls of Parliament, occupying the thoughts of intelligent men, who see not only, in the want of education, an element of crime and misery, but who see in education itself, unless it be taken up in a noble and fitting spirit, evils as great as can befall society, if in- tellectual cultivation (limited to the extent that it must be when you deal with large masses whose destined employ- 80 LETTERS TO JOHN BULL, ESQ. ment is manual labour) is to be held a thing wholly diffe- rent and apart from moral instruction and religious disci- pline. Who, regarding popular education in its compre- hensive application to states, — who, knowing the statistical fact, that whereas with us the larger proportion of criminals can neither read nor write, in France the larger proportion of the worse sort of criminals possesses even more than that elementary instruction;* — who does not hope that some statesman may arise, with the happy art to conciliate Church and Dissent, and to insure to the rising generation those early lessons which not only quicken the thought, but guide the conduct ? Carry your gaze across the Channel — look at Ireland. Long distracted from the true objects of civilisation by the genius of one leader — Heaven preserve her from another ! Consider there the differences affecting the very core of society, which hitherto you have so vainly struggled to adjust. Recall the late famine there — contemplate the vast diminution in the produce of the soil, which your laws, intended to prevent the recurrence of such famine, have already effected ; while Ireland at least has no foreign commerce that can be supposed to recruit the capital that is lost to the land. Recall, too, the toil it has cost to the wisest to harmonise religious distinctions with due regard * By the elaborate tables of M. Guerry, it would seem not only that this applies to individual cases, but that in those departemens of France in which the average of education is highest, it is found, almost invariably, that crimes, against both life and property, are the most relatively numerous ; and crimes against life especially, rarest in some districts, such as Limousin and Brittany, where the people are most ignorant. Beaumont and Tocqueville, in their works on Crime in America, have also rather startled us with the remark, that "they cannot attribute the diminution of crime in the northern states to instruction, because in Connecticut, where there is more instruction than in New York, crime increases with terrible rapidity." It is obviously need- less to say that such facts prove nothing against popular instruction ; but they do prove that popular instruction alone does not suffice for the ends re- quired from it ; that it cannot be safely dissociated from direct moral and religious cultivation. A critic in the Edinburgh Revieiv, in noticing these Letters, asserts that M. Guerry' s tables, which were published some years ago, have been explained away ; and that, though crime may have been found most in educated districts, it was not among the educated part of their popu- lation. But M. Guerry, who is one of the most illustrious statists in Europe, visited England this very year, and in an address at the great meeting of our men of science, repeated and enforced the inferences drawn from his tables, refuted the explanations on which the reviewer relies, and brought forward new facts in support of his proposition, "that mere mental education has not been found to diminish crime." LETTERS TO JOHN BULL, ESQ. 81 to the conscience of both, between Protestant Britain and Roman Catholic Ireland — then see this new brand which the Pope and his Cardinal have flung amongst the smoulder- ing fires of recent rebellion — and who does not sigh, " May the Coming Man be the Peace-maker! " Conciliation! — this is in all times, and all lands, the master-art of the administrator. As the vehement advo- cate once raised to the bench becomes the impartial judge, so he who in opposition is the leader, in office should be- come the arbiter. And that authority has ever been the firmest which reconciles the differences of each with the order and progi^ess of all. Difficult task, and rarely under- taken ! — but wisdom is difficult, and firm administrations are rare. So far, my dear John, methinks I have your approval ; — nay, had I the voice of the orator, here perhaps I might be flattered by your cheers. There remains yet a class and an interest, towards the propitiation of which there is more doubt of a fair hearing. Nevertheless, I deliberately ap- proach that subject ; for I honestly think that here the conciliator is the most immediately needed. I speak of the class which cultivate the land we live in ; I speak of the interest which comprises a vast mass of the real property of the country — an interest which supports the bulk of our poor ; which maintains the clergy and defrays the costs that uphold civilisation in rural districts ; which, whether it be or be not disproportionately taxed, does at all events contribute towards the State to so large an amount, that it cannot be materially injured nor depressed by any change in the law, without affecting the very capital upon which depend the income of the fund-holder and the solvency of the nation. Now, dear and respected John, when we survey this important tribe of your family — pretty well united in the complaints of distress, and in the assertion of its cause — do you think we may say that this is precisely the class in the kingdom to which we can safely refuse attention, and which we will thrust out of the pale of all paternal and beneficent legislation ? But, hark ! — it seems to me that I hear a loud and deri- sive outcry. " Pooh ! — Stop your ears, John ! This gentle- man, who is in reality a vampire, wants to open the ques- G 82 LETTERS TO JOHN BULL, ESQ. tion of the Corn Law. Don't listen to him ; that question is settled. The law is passed — once passed, it cannot be repealed. As well talk of repealing the Reform Bill ! " You scratch your head, John ; you look puzzled ; but still you listen to me : for a moment's reflection tells you that there is all the difference in the world between a ques- tion of constitutional change, and a question of political economy or fiscal arrangement. It is rare, indeed, that a law which serves to popularise a Constitution, or advance democracy, is repealed. But even that has been done in times the most agitated, where the public expediency seemed to require it. You yourself, John, once advanced into a republic, and drew back into monarchy as fast as you could. Again, you once transacted your affairs through a triennial parliament, yet you very soon made a retrograde movement, and are still compelled to grant a seven years' lease to the occupiers of St. Stephen's, notwithstanding all the arguments of the National Reform League to prove that lease a great deal too long for your interests as land- lord. You have only to look to the Foreign News in the Times to see that it was but as the day before yesterday, compared with your long life, when universal suffrage was proclaimed in France ; and but as yesterday that a law has been passed which shakes off a weighty per-centage from the suffrage so recently created. And the whole history of Europe for the last few years does little more than chronicle the sudden enactment and as sudden repeal of charters and constitutions which wise-heads declare to be the irrevocable advance of entire populations. You know, therefore, that even a political step backward has been taken, sometimes because of the brute force of a despot — but sometimes, also, as the voluntary choice of a nation. The Seel revocare graclum* applies to progress, not towards the region where we all wish to go, but to its dismal antipodes. It is only the first step to the infernal regions which Virgil so em- phatically implies that mortal man can never recall. But, bless your heart, my dear John, as to changes and re- changes in commercial regulations, in duties and non-duties upon produce, raw and manufactured, — what man in his senses, or with no more knowledge of history than he could pick up at a grammar-school, ever dreamed that laws affect- * [But to retrace the step.] LETTERS TO JOHN BULL, ESQ. S3 ing them were not, by their very nature, experiments, and the most liable of all laws to revision or repeal? "Ay — but corn — the staple of food — the big loaf ? " The very thing, my dear John, of all others, that your experience tells you has been most subject to the mutability inherent to affairs mundane and mortal. What, did we never try this experiment before ? Why, throughout all the dark ages, the importation of foreign corn was substantially free. For about five hundred years that experiment was tried ; and much good it did to com- merce and manufactures — much good it did to the condition of the people ; and well it prevented fluctuations, scarcity, and famine ! Free importation of corn ! The duration of that experiment extends through the history of our bar- barism. From the dawn of civilisation dates the record of Protection : it commenced under the dynasty of the House of York, in which commerce was first especially honoured and upheld — in which, under a king who himself was a merchant,* began the sagacious favour to the trading middle class, as a counterpoise to armed aristocracy, that, under the more tranquil intellect of Henry the Seventh, created the civil powers ruling modern dominions ; and that Protection, thus first admitted in theory, but long de- feated in practice, can hardly be said to have been vitally and resolutely incorporated in our national system till the very era that confirmed our constitutional freedom, and saw the rise of Great Britain to the rank it now holds amongst nations — the reign of William the Third. Well, this Protection, first vigorously enforced at the Revolution of 1688, f lasted for the best part of a century ; * Edward IY. — " King Edward went beyond all the contemporary sove- reigns in commercial transactions. He owned several vessels, and, like men whose living depended on their merchandise, exported the finest wool, cloth, tin, and the other commodities of the kingdom, to Italy and Greece, and im- ported their produce in return by the agency of factors or supercargoes." — Macpher son's Annals of Commerce. In one sense of the word, it was very injurious to merchants to have a royal competitor, who paid no duties ; but his example served very much to increase the power and dignity of the mer- cantile order ; and during his reign that order gained the authority which enabled Henry the Seventh to found a middle class on the ruins of the Eeudal system. f In 1463, reign of Edward the Fourth, importation was legally prohibited until the home price reached that at which exportation ceased, viz., 6s. 8cl. a quarter (money of that period) ; but, as Mr. M'Culloch observes, " the fluctuating policy of the times prevented these regulations being carried G 2 81 LETTERS TO JOHiN BULL, ESQ. "and under it," says the commercial historian, " the com- merce and manufactures of the country were extended to an unprecedented degree." The country wished then, as now, to have some return to the system of those blessed five centuries of Free Trade in corn; and in 1773 a law was passed which a few years ago would have satisfied, I suspect, Manchester itself ; for foreign wheat was per- mitted to be imported on paying a nominal duty of 6d. whenever the home price was at or above 48s. per quarter. The Nation tried that plan for about eighteen years, and then what did it do ? — this England that the newspapers tell us " never goes back ! " — why, it went back, of course ! And the price at which foreign importation could take place at 6d. was raised in 1791 from 48s. to 54s. ; while under 50s. the home producer was protected by a duty of 24s. 3d. And observe this date, 1791 ! Was that a period when the temper of the times was peculiarly submissive, and inclined towards political retrogression? It was a time more democratic than this — a time when the spirit of the first French Revolution was at work through all the great towns of the empire. " But the people cried out ? There were riots, rebellions, for the sake of the big loaf ? " Not a bit of it, my dear John ! The people were a sensible people, as the English are in the long run : they had tried their experiment — did not like it ; " And," says Mr. M'Culloch, with a candid sigh, " there was a pretty general acquiescence in the act of 1791." " Pretty general acquiescence ! " — the admission is satis- factory in extent, but lukewarm in expression : the truth is, that no more popular act passed throughout the whole reign of George the Third. And yet " laws against protection are never repealed ! as well repeal the Reform Act ! — England never goes back ! — A law about corn is as fixed as the nod of Jove ! " And all the while you are going back to the reigns of the Nor- into full effect, and, indeed, rendered them in a great measure inopera- tive." The subsequent law that imposed prohibitory duties on the importation of wheat, till the price rose to 53s. 4 as Mr. Carlyle supposes, to Wolfgang, who deserved no such honour. THE LIFE OF SCHILLER. 257 1790, after an intimate acquaintance of three years, the lovers were united. Never was marriage, if we except only the narrowness of pecuniary circumstances, formed under more favourable auspices. The very age of the parties was that, in each, in which affection promises to be most durable, and the choice best considered. Schiller was about one-and-thirty, Charlotte about four-and -twenty : the length of the court- ship had but served to found attachment upon esteem, while it augmented it by delay. The characters of bride and bridegroom were in the, most perfect harmony ; where they differed, it was but for each to improve the other ; the refinement of the woman softened the impetuous man ; the noble fire of the man warmed and elevated the gentle woman. Schiller was now really formed for the home he had so long sighed for. With all that depth of feeling and singleness of heart which are common to those fond of solitude, he now combined much which intercourse with mankind alone can give. As all misanthropy had fled from his heart, so all cynicism was now banished from his manners and his dress. He could no longer have been open to the caricature of the Dresden actress ; and, inde- pendently of his fame, his genius, and his noble heart, a vainer woman than Charlotte von Lengefeld might have been proud of her choice. CHAPTEE IX. Schiller's illness — The sensation produced in Denmark by the report of his death. — The letter addressed to him by the Prince von Holstein Augus- tenburg, and Count von Schimmelmann — Schiller's reply — His study of Kant — Schiller revisits his native land. Schiller was not disappointed in the hopes he had formed of domestic happiness. A few months after his marriage he exclaims in his correspondence : " Life is quite a different thing by* the side of a beloved wife, than so forsaken and alone — even in summer. . . . The world again clothes itself around me in poetic forms ; old feel- ings are again awakening in my breast. . . . Pate has conquered the difficulties for me. Prom the future I ex- pect everything. ... I think my very youth will be re- newed, an inward poetic life will give it me again." * But, alas ! even as these lines were written, that bodily enemy ., -Q-. for which the mind so rarely prepares itself was at hand. Disease struck root into a constitu- tion always delicate ; he was attacked with a disorder in the chest ; and though he recovered from its immediate severity, the head of the shaft was left behind. He never entirely recovered his health — from that time consumption rankled within. He had been labouring more intensely than ever : to such a man, the consciousness that on his toils rested the worldly comforts of a wife who had resigned a Court for a scholar's roof stimulated industry into fever. He was immersed in severe studies connected with the historical pursuits to which he was now devoted, but the first and most peremptory injunction of his physician was repose to his intellect Repose — and his very subsistence rested on activity ! At this crisis, however, one of those rare acts of munificence which are the god-like prerogatives of wealth, came to brighten poverty and comfort genius. A report of Schiller's death had been spread abroad : it had * Extracted from the translation in Carlyle's " Life," THE LIFE OF SCHILLER. 259 readied Denmark, at the moment when a princely circle of the Poet's admirers had resolved to repair to Hellebeck, near Copenhagen, and, amidst it sublime and enchanting scenery, to hold a court in his honour, and chant his " Hymn to Joy." Amongst these were the Danish Poet, Baggesen ; the Count Ernest von Schimmelmann ; the Prince Christian von Holstein Augustenburg and his Prin- cess. Their grief, as enthusiastic as their admiration, changed the meditated festivities into a funeral solemnity. They met at Hellebeck, on the shore of the sea, opposite the high rocks of Sweden, and Baggesen began to read the hymn. Clarinets, horns, and flutes chimed in to the song of the chorus ; two additional stanzas, in honour of the supposed dead, were chanted, and may be thus translated : — " Hail to a Mend, choir of friends ! The dead we love shall live once more ; Bright to the bowers of heaven ascends His soul : our lives it hovers o'er. Chorus. — Lift your attesting hands on high ; Swear by this wine from lands made free,* Till found once more in yonder sky, Faith t® our brother's memory." As the song ceased, all eyes wept. Homage to the dead is a vulgar and idle tribute, if it come after neglect or injury to the living. The heart sickens at that mockery of admiration, which allowed Spenser to die of a broken heart, and threw copies of verses into his grave, — which suffered political vengeance to reduce Dryden to a bookseller's drudge, and insisted on burying his dust in the sepulchre of kings. To Schiller's biographers belongs the pleasing task of commemorating the only true homage ever rendered to a dead poet, — simply because the poet was not dead ! No sooner was the report confuted, than the noble mourners exulted to ex- change ceremonial honours to the lifeless, for practical benefits to the living. A letter, from which we extract the purport, was sent to Schiller by the Prince von Augusten- burg and Count Schimmelmann. "27#AJVatvl791. "Two friends, united through the citizenship of the * i.e. French wine. s 2 260 THE LIFE OF SCHILLER, world, send this letter to you — noble man! Both are un- known to you — both love you and revere. They find in your recent works the mind and the enthusiasm which knit the bond of their own friendship ; by the perusal of these works they accustom themselves to regard the author as a member of their own union. Great was their grief at the report of his death ; their tears were not the scantiest of those which flowed from all good men by whom he was known and loved. The lively interest with which you have inspired us must excuse us from the appearance of officious importunity. They tell us that your health suffers from too severe an application, and needs for some time an entire repose. This repose your pecuniary circum- stances alone forbid you to enjoy. Will you grudge us the delight of contributing to your relief ? We entreat you to receive, for three years, an annual gift of a thousand dollars.' ' * The writers proceed with dignity to touch upon their rank, and to imply a delicate hope that it may not prove an obstacle to their request ; they desire not to wound his spirit of independence, or parade the ostenta- tion of patronage. " We know no pride but this, — to be men! — citizens in that great Republic whose boundaries extend beyond single generations — beyond the limits of earth itself." They proceed to invite him into Denmark: " For we are not the only ones here who know and love you; and if, after the restoration of your health, you desire to enter into the service of our state, it would be easy for us to gratify such an inclination. Yet think us not so selfish as to make such a change in your residence a condition : we leave our suggestion to your free choice ; we desire to preserve to Humanity its instructor, and to this desire every other consideration is subordinate." There may be in this letter — which the gratitude of Literature should render no less imperishable than the works of him to whom it is addressed — something of the romantic exaggeration, in tone and phrase, which betrays the influence of the French cosmopolites ; but that in- fluence here affected men of noble hearts, who desired to have an excuse in philanthropy for individual beneficence ; not, as with the maudlin confraternities of France, an * A sum which, at "Weimar, would go perhaps three times as far as it would in England i THE LIFE OF SCHILLER. 261 excuse, in the citizenship of the world, from doing good to a single creature ! The effect such a letter produced on Schiller no one can describe — every one can imagine. Nothing but the decla- ration of his physicians that a visit to so northern a climate would be fatal, prevented him from hurrying to benefactors so delicate and so munificent. In a letter to Baggesen, the depth and manliness of his gratitude are apparent ; and this letter is the more interesting, inasmuch as it expresses those views of the dignity of letters, and that repugnance to regard art as a livelihood, which may serve the ambition of youthful genius at once with warning and emulation. "Frorn the cradle of my intellect till now," writes Schiller, " have I struggled with Fate ; and since I knew how to prize intellectual liberty, I have been condemned to want it. A rash step, ten years since, divided me from every other practical livelihood, but that of a writer. I had given myself to this calling before I had made proof of its demands, or surveyed its difficulties. The necessity of pursuing it befel me before I was fitted for it by know- ledge and intellectual maturity. That I felt this — that I did not bound my ideal of an author's duty to those narrow limits within which I was confined — I recognise as a favour of Heaven. As unripe, and far below that ideal which lived within me, I beheld all which I gave to the world." With feeling and with modesty Schiller proceeded to enlarge upon the conflict between his circumstances and his aspirations, to touch upon the melancholy with which he was saddened by the contemplation of the great master- pieces of art, ripened only to their perfection by that happy leisure denied to him. "What had I not given," he exclaims, "for two or three tranquil years; that, free from all the toils of an author, I could render myself only to the study, the cultivation of my conception, — the ripen- ing of my ideal ! " He proceeds to observe that in the German literary world, a man could not unite the labour for subsistence with fitting obedience to the demands of lofty art; that for ten years he had struggled to unite both ; and that the attempt to make the union only in some measure possible, had cost him his health . ..." In a moment when life began to display its whole value — 262 THE LIFE OF SCHILLER. when I was about to knit a gentle and eternal bond between the reason and the phantasy — when I girded myself to a new enterprise in the service of art, death drew near. This danger indeed passed away ; but I waked only to an altered life, to renew, with slackened strength and diminished hopes, my war with Fate. So the letter received from Denmark found me ! I attain at last the intellectual liberty so long and so eagerly desired. I win leisure, and through leisure I may perhaps recover my lost health ; if not, at least for the future, the trouble of my mind will not give nourishment to disease. If my lot does not permit me to confer beneficence in the same man- ner as my benefactors, at least I will seek it where alone it is in my power, — and make that seed which they scatter, unfold itself in me, to a fairer blossom for humanity." And he did so ! Thus enabled to enrich while he relaxed his mind, Schiller devoted himself with ardour to the study of Kant.* With the closer knowledge of this philosopher — who, whatever his defects, certainly did more than any other reasoner to counteract the hard and narrow scepti- cism of the French Encyclopedists, — to bring imagination to the aid of Faith, and at once to enlarge the tolerance of the sectarian and to calm the doubts of the seeker — really commences the Third Period of Schiller's intellectual career, though his biographers postpone its date to the time when its fruits became practically apparent. In June, 1792, Schiller and his wife visited Korner at 1 jqp Dresden : On their return, they received Schil- ler's mother and youngest sister, Nannette, whom he had not seen for eight years. The tender associ- ations thus revived led the mind of the exile back to his Suabian home. In August, 1793, the Schillers, therefore, commenced an excursion to the Poet's father-land. f At * Conz, Professor of Poetry and Eloquence at Tubingen, who visited Schiller in 1792, says that he was then thoroughly absorbed in Kant. Conz gives a charming picture of Schiller's simple and frugal life. "He was," says the Professor, " Humanity itself, and his excellent wife a pattern of complaisance and modesty." f About this time Schiller's sister-in-law, according to the German law, annulled her marriage with M. von Beulwitz. She afterwards married "Wilhelm von AYolzogen, attached to her, as we have before said, from his earliest youth. She also joined the Schillers at Heilbronn. THE LIFE OF SCHILLER. 263 Heidelberg, Schiller met once more the object of his early love, Margaret Sclrwan, now like himself married to another ; he saw her with a deep emotion, which his wife comprehended too well to resent ; he who sees, unmoved, the one in whom he formerly garnered up his hopes of home, can never constitute the happiness of the home he has found with another. At Heilbronn, unsurpassed, even in Germany, for the peculiar beauties of its landscape, the family of -. *qo Schiller met the long-lost wanderer. He stood amongst them no longer a rude stripling, a penniless exile ; — but the favourite of princes, the idol of a people — his hopes fulfilled — his destiny assured ; crowned already with renown, and calm in the certainty of triumphs more splendid yet to come. He had reached the time when, without humiliation, he could humble himself to his native sovereign. With Schiller's wild love for liberty, he never was without that loyalty, which is almost inborn with the children of the North. He wrote to the Duke of "Wurt em- berg such a letter as that loyalty might dictate ; he re- ceived no direct reply, but was informed, privately, " that the Duke would be ignorant of his movements if he re- entered Wiirtemberg." Schiller then repaired to Ludwigs- burg, where he was in the immediate neighbourhood of his father's house, and under the medical care of one of his early friends, von Hoven, now Court physician. ^ f 1 a Here he first enjoyed the happiness he had -t-qo ' long coveted ; he became a father. His earnest, manly, and affectionate nature was precisely that which finds children at once a charge and a blessing. Now he would play for the hour together with his " Gold-son, his heart's Karl," * as he named his firstborn ; now shut him- self up to study Quintilian, on the plan of education to be pursued. Those who remembered the youth of Schiller were startled by the charge which years and circumstance had effected ; all that was sharp and hard in his character was gone. His early fire was softened — it warmed more and alarmed less ; there was far greater grace in his demeanour. His ancient neglect of appearance and dress was replaced * Conz. Schwab. Hoffineister. 264 THE LIFE OF SCHILLER. by a decent elegance ; his even humour scarcely allowed them to recognise the impetuous and stormy stripling they had known ten years before.* But, alas ! with the mental change had come the physical ; the features were drawn and hollow, the complexion wan and haggard. Illness frequently confined him to his bed — Kant and Homer his companions ; and at this time the grand outline of " Wallen- stein," before chalked out, began to receive colour and fullness ; he devoted himself to its composition principally at night, diversifying the poetical task with the first sketch of his " Philosophical Essay npon iEsthetical Cultivation. " During his residence at Ludwigsburg the Grand Duke Karl died.f Schiller was asked by his father to congratu- O f 24 ^ e ^ e -D^e's successor in a poem — we need ih'no ' scarcely say that he refused. He could not seem to rejoice at the death of a man who had been both his benefactor and his persecutor. Schiller was never more himself than when, standing by his sovereign's grave, with von Hoven, he spoke thus touch- ingly : — " Here rests this once active restless man ! He had great faults as a Prince, greater yet as an individual. But the first were overwhelmed by his high qualities, and the remembrance of the last must be buried with the dead. I say to thee, therefore, if thou hearest one speak of him disparagingly, as he lies there — trust that man not ! — he is no good, at least, he is no noble man," At Ludwigsburg he formed an acquaintance with Cotta the bookseller, which had considerable influence on his later labours. In connection with this publisher, a new literary periodical, the " Horen," was chalked out, and a new political journal, intended to take the lead over all its German contemporaries. Of this last Schiller proposed to assume the editorship ; but his growing disinclination for objects less noble than the art of which Philosophy had brought * Yon Hoven, ap. Mad. von Wolzogen. f Biographers have raised a doubt if Schiller had removed from Heil- bronn to Ludwigsburg before the Duke's death. But it seems quite clear that he was at Ludwigsburg early in September, since von Hoven, who resided at Ludwigsburg, attended his wife in her confinement, — Sept. 14th. THE LIFE OF SCHILLER. 265 liini clearer, and sublimer views, induced him happily to resign this notion. The political journal was, how- ever, set up by the publisher, and exists to-day in high repute, under the well-known name of the " Allgemeine Zeitung." CHAPTEE X. THIRD PERIOD. The Horen and Musenalmanach — Two deaths in Schiller's family — Return from philosophy to poetry — The summer-house — Influence of Goethe on Schiller's genius— Appearance of Wallenstein. In May, 1794, Schiller returned to Jena, his body •worn to a shadow ; # his mind more than ever vigorous and resolved. Here he found the charm of a friendship more complete, and more sympathetic alike in intellect and in taste, than he had yet known. Wilhelm von Humboldt had settled at Jena, with a charming wife, whom he had lately married ; — the two families contracted the closest intimacy. The undertaking of the " Horen " was now seriously commenced, as a monthly Periodical, with the assistance of the greatest names in Germany, — Goethe, Herder, Jacobi, Matthisson, &c. In this journal Schiller desired to consummate an idea which had long haunted him, and which had been but imperfectly developed in the "Thalia." It may be said that this idea had grown out of the vast and luminous humanity of Herder, and ripened under the influence to which Herder was most opposed — that of Kant. The journal was intended to merge all that belonged to sect, to party, and the day, and devote itself to all that could interest the common family of man ; so far, this was akin to Herder ; but Schiller sought the interest, not in broad and popular topics, but in that SBsthetical cultivation — that development of ideal beauty, which, since his study of Kant, he regarded as the flower and apex of human accomplishment. But the enterprise of this periodical, memorable in much, is so principally on account of the union it established between Goethe f and Schiller — an union inestimable to both, and therefore to * Goethe thought, on seeing Schiller, that he had scarcely a fortnight's life in him. — Hoffmeister. Eckermann. f "We need scarcely say that Goethe's fame and position had prodigiously increased since the publication of Schiller's "Bobbers." THE LIFE OF SCHILLER. 267 the world. Hitherto, these eminent men had moved in separate orbits ; and Goethe's calm kindness to his great rival had not advanced to intimacy ; but now the friend- ship Goethe felt for Schiller's wife, whom he had known from her childhood ; the ties formed by acqnaintances in common ; and that power of attracting others to his de- signs, which Goethe himself has remarked in Schiller ; drew them closely together, and served to form a bond which death only could dissolve. Goethe says, with noble candour, in his correspondence, " I really know not what might have become of me, without the impulse received from Schiller ; " — and he proceeds to enumerate the writings which had never been produced but for the co-operation of the only man from whom — had Goethe been one fraction less than Goethe — he would have been kept aloof by jealousy and alarm. Into this journal Schiller, appointed chief editor, poured some of the finest thoughts to be found in his prose writings ; embodied in the form of philosophical criticism. Here too, and in the "Musenalnianach," an annual publication, also undertaken in conjunction with Goethe, somewhat later, appeared the immortal lyrics, which perhaps established the most popular and indisputable of Schiller's claims to admira- tion, purely and singly as the Poet. In this last periodical finally flashed forth those Epigrams, under the name of Xenien ; sometimes personal and caustic, some- times thoughtful and ideal, which set the literary world of Germany in a blaze. The connection between Goethe and Schiller had excited much jealous hostility amongst many lesser writers ; an hostility wreaked upon the " Horen," and avenged in the " ATusenalmanach "' by these laconic sarcasms. The sensation they excited was prodigious ; though they can inspire but a lukewarm interest in the public of a foreign country. # Many of the more personal epigrams Schiller had the grace to withdraw from the subsequent collection of his poems; and in * Nevertheless, their effect upon German literature yet endures. Mr. Carlyle observes — ("Miscellanies," vol. i. p. 67) — that "the war of all the few good heads in the nation with all the many bad ones, began in Schiller's Musenalmanach for 1767; " and adds that, " since the age of Luther, there has scarcely been seen such strife and stir in the intellect of Europe." Wo do not quite subscribe to Mr. Carlyle' s admiration for "the new critical doctrine,' ' which dates from the Xenien. 268 THE LIFE OF SCHILLER. tliis withdrawal lie could afford to sacrifice what critics have termed his best. In the midst of these labours -|hq~ he had the misfortune to lose his youngest sister, Nannette, a girl of promise and beauty; and in the same year, after a lingering disease, his father. He felt both losses acutely ; the last perhaps the most : but in his letters it pleases us to see the philosopher return to the old childlike faith in God, the reliance on Divine goodness for support in grief, the trust in Divine mercy for the life to come. For it has been remarked with justice that, while Schiller's reason is often troubled in regard to the fundamental truths of religion, his heart is always clear. The moment death strikes upon his affections, tho phraseology of the schools vanishes from his lips — its cavils and scruples from his mind : and he comforts himself and his fellow-mourners with the simple lessons of Gospel resignation and Gospel hope. About this period Schiller began to turn wearily from the studies which had for years occupied his intellect and influenced his genius. He felt that he had given himself too much to abstract speculation, too little to the free poetic impulse. " It is high time, ,, he says, in a letter to Goethe, " that for a while I should close the Philosophy Shop." He returned with ardour to the grand outline of his " WallensteiH," commenced years ago ; long suspended, never forgotten. He yearned for some escape from the learned and arid atmosphere around him, some quiet retreat in which he could be alone with his genius — a summer-house with a garden ! At length, this modest desire which literally seemed to haunt him was realised. Not far from Jena, to the south-west of the town, he pur- chased a garden, and built himself a kind of pavilion, with a single chamber. The site commanded a wide and noble prospect. Placed on the brow of a hill, up which the garden climbed, the summer-house overlooked the valley of the Saale, and the hanging pines of a neighbouring forest.* "There," says Goethe, in his Prologue to the " Lay of the Bell "— * The house exists no more ; upon its site is placed an urn dedicated to the memory of the poet. — Doring. THE LIFE OF SCHILLER. 269 " There, deck'd lie the fair garden watch-tower ; whence listening he loved the voice of stars to hear, Which to the no less ever-living sense Made music, mystic, yet through mystery clear ! " Here then, in the summer months, did he devote him- self, with a passion more fervent than in youth, to the divine faculty of creation. Often was the light seen at night streaming from the window, and the curious might even catch a glimpse of his tall shadowy figure walking to and fro the chamber ; now halting to write down the verses which he first declaimed aloud, or to support the overstrained physical power with the fatal excitements, for which our own Byron had more excuse, and has found less mercy. It was his custom to have placed on the table not only strong coffee and chocolate, but champagne, and the far more irritating and pernicious wines of the Rhine. Thus would he labour the night through, till sleep, or rather exhaustion, came on at morning ; and he never rose till late. Dearly purchased, indeed, was the luxury of these midnight watches ; but who shall conceive their intense delight ? Thus he speaks himself in his letter to Goethe, May, 1797, on his first occupation of his new abode : — " I greet you from my garden, on which I entered this day : a fair landscape surrounds me ; the sun goes gently down ; and the nightingales begin their warbles. All around serves to render me serene ; and my first evening in my own ground and soil is of the fairest omen ! » It happened, perhaps fortunately, that, in the summer of 1797, Wilhelm von Humboldt left Jena for Italy. The influence that this eminent but over-refining intellect had exercised on Schiller, had not been on the whole favourable to his poetical genius ; * it had withdrawn him too much from the broad and popular field in which poetry, of the highest order and most extended empire, should seek its themes, into the " Realm of Shadow," — an obscure and metaphysical ideal. With the departure of Humboldt, a new and far happier direction was given to Schiller's eager * W. v. Humboldt, who was a devoted Kantian, seems to have supposed that poetry should be a riddle. It is always in the Abstract that he searches for the Beautiful. 270 THE LIFE OF SCHILLER. energies. More delivered to the luminous influence of Goethe, he became more imbued with his art. A friendly emulation with Goethe led to the production of Schiller's greatest, though simplest poetical produc- tions — his Ballads. Goethe had already shown what epic interest and what subtle wisdom might be given to this form of verse : Schiller caught the inspiration, and composed his " Diver," the sublimest ballad in the German language. This was followed by "The Glove," " The Cranes of Ibycus," &c, &c. The years 1797-98 were signalised by these performances, in which the ripest art of Goethe seems united with the earliest force of Schiller. Meanwhile, " Wallenstein " still, though slowly ad- vanced to its elaborate completion. Schiller grudged no pains, and neglected no study, which might serve to fulfil in this great work, that ideal of excellence, for the achievement of which the necessary leisure had been so desired. He plunged into the recesses of astrology and consulted the dreams of the Cabalists, in order to treat with conscientious accuracy, and invest with solemn dignity, the favourite superstition of his hero.* Finally, in January, 1799, after great preparation, the first portion i ^qq °^ " Wallenstein/' the " Piccolomini," was pro- Tj-,, , \ A duced at Weimar. This was followed by the ^tat. 4U. « Death of Wallenste i n) >> ^ April. If on the boards the interest of these several parts of the great whole was not so intense as Schiller's earlier dramas, he was fortunate in the cordial support of the few who ulti- mately decide the judgment of the many : the perusal of the work, subsequently published entire, served to deepen and to widen general admiration : the more " Wallenstein" was examined and discussed, the more its profound beauty grew upon the world. Long after its publication, Goethe compared it to a wine, which wins upon the taste in pro- portion to its age. "This work," says Tieck, " at once rich and profound, is a monument for all times, of which * Schiller was fond, for their own sake, of such ultra-philosophical inquiries. When at Heilbronn, 1793, he took much interest in animal magnetism. THE LIFE OF SCHILLER. 271 Germany may be proud ; and a national feeling — a native sentiment — is reflected from tins pure mirror, teaching us a greater sense of what we are, and what we were." In fact, from that time Schiller became the National Poet of all Germany. CHAPTEE XL Residence at "Weimar— Mary Stuart — Maid of Orleans -Bride of Messina- Reception at the Leipsic Theatre — Death of Schiller's mother — His life and habits — He is ennobled — Acquaintance with Madame de Stael. In the same year, 1799, by tlie advice of his physi- cians, Schiller removed to Weimar ; the Grand Duke awarded him a pension, of 1000 dollars, with a declara- tion that it should be doubled if illness should interfere with his other resources. His pecuniary circumstances were now competent to his moderate wants. "Wallen- stein " had brought him ample remuneration ; the pe- riodicals with which he was connected yielded a regular and liberal income. Nevertheless, his activity increased as the ruder necessities for exertion were diminished. Vast schemes were constantly before him. His genius itself became to him that spur which Poverty is to the genius of less earnest men. His play of "Maria Stuart," and " The Lay of the Bell," long premeditated, were his next productions; the last the greatest of his lyrics ; the first the poorest of the dramas conceived in his riper years. To an Englishman nothing can be less satisfactory than Schiller's character of our great Elizabeth ; and history is violated for insufficient causes, and from an indistinct and imperfect ideal. Madame de Stael thought more highly of the tragedy than it deserved, precisely because of its defects. The Mary and the Elizabeth of Schiller have much of the shallowness and the tinsel of French heroines.* The public for once judged accurately in admiring the scattered beauties of the piece, and condemning it as a whole. But sickness of body may perhaps have conduced to the faults of this play. After Schiller's death, this note, in his handwriting, was found : " The year 1800 I was very ill. Amidst pain was ' Mary Stuart ' completed." * A. W. Sehlegel, nevertheless, preferred, or affected to prefer, in many- important respects, the " Maria Stuart " to the " Wallenstein." THE LIFE OF SCHILLER. 273 But from this single fall Schiller's genius recovered itself with tbe bound of a Titan. The lovely image of the " Maid of Orleans " haunted him. Already, with the com- mencement of the new year, 1801, three acts of this masterpiece of elevated romance were composed. In the autumn of the same year, during a visit to his friend Korner at Dresden, he laboured at the no less magnificent " Bride of Messina," unequalled as a lyrical tragedy. From Dresden he went to Leipsic, and was present at the performance of the " Maid of Orleans." Here one of those signal triumphs, which so rarely await living genius, awaited him. Scarce had the drop-scene fallen on the first act, than the house resounded with the cry, " JEs lebe Friedrich Schiller ! " The cry was swelled by all the force of the orchestra. After the performance the whole crowd collected in the broad place before the theatre to behold the Poet. Every head was bared as he passed along ; while men lifted their children in their arms, to show the pride of Germany to the new generation — crying out, " Dieser 1st es " — " That is he ! " From Leipsic Schiller returned to Weimar, where "The Maid of Orleans " soon found its way to the boards ■; but its most gorgeous representation was at Berlin, where the New Theatre commenced with its performance on a scale of grandeur unprecedented on the German stage. Schiller and Goethe were now almost inseparable. Together they directed the management of the Weimar Theatre, in which Schiller still entertained ideas of dra- matic dignity too lofty for the social life of the moderns. Still did his manhood desire that for which his boyhood had been destined — the vocation of the Preacher ; — and the stage still but suggested to him the office of the pulpit. "The pulpit and the stage are the only places for us," said he. He loved the Theatre ; it was the sole public entertainment he habitually frequented. He was fond of the society of actors. He used to invite them to supper at the Stadthause, after the first, or even a more than usually successful, performance of one of his pieces. But generally, on returning from the Theatre, his mind was excited, and his emulation fired. And the midnight lamp at Weimar, as at Jena, attested that prodigious T 274 THE LIFE OF SCHILLER. energy, which no infirmity slackened, and no glory could appease. At this time he purchased a small house on the Espla- nade — associated indeed with melancholy auspices : the same day he entered it his mother died. He felt in this affliction the rupture of the last tie of youth. He wrote to his sister — " Ah, dear Sister, so both the beloved Parents are gone from us, and the oldest bond that fastened us to life is rent ! let us, we three (including his other sister), alone surviving of our father's house, let us cling yet closer to each other ; forget not that thou hast a loving brother. I remember vividly the days of our youth when we were all in all to each other. From that early existence our fate has divided us ; but attachment — confidence, remain unchanged — unchangeable." In his own circle lay his purest and best comfort. He loved to associate himself with the infant sports of his children. Many a time was he found with his boy playing * on the floor. Around him were assembled such friends as Genius rarely finds — men dear alike to his heart, and worthy of his intellect. At the Court he was grown familiar, and, though he frequented it less than his royal friends desired, it was no longer made displeasing to his tastes by the reserve of his earlier pride. To his intellectual life Groethe had grown necessary, — w T hile his more household friends were his old College ac- quaintance, Wilhelm von Wolzogen, and "Wolzogen's wife, —the eloquent and enthusiastic sister of his own. But, withal, his passion for solitary w r anderings was unabated. Often was he seen in the lonely walks of the Park, stopping abruptly to note down his thoughts in his tablets ; often seated amidst the gloomy beeches and cypresses that clothe the crags, leading towards the Royal Pleasure House (the Romische Haus), and listening to the murmur of the neighbouring brook. In 1802 he received from the Emperor of Austria a patent of nobility ; it was obtained through the unsolicited influence of the Duke of Weimar. He esteemed the honour at its just price — not with the vulgar scorn of the would-be cynic, still less with the elation of a vain convert from Republicanism. It pleased " Lolo and the children," * At the game called " Lion and Dog," on all fours. THE LIFE OF SCHILLER. 275 In the following year Madame de Stael visited Weimar, where her nneqnalled powers of conversation were more appreciated than in London. She herself has, in her " Alleroagne," given ns an interesting sketch of Schiller. He seems at first to have been more startled with the readiness of her powers, than charmed with their brilliancy, or penetrated with their depth. He says of her, not withont justice, that her " Naturel and her feeling were better than her metaphysics." He is not qnite pleased with that French clearness of under- standing that made her averse to the Ideal Philosophy, which she believed led only to mysticism and supersti- tion. He asserts somewhat too positively, " for what we call Poetry, she has no sense." He complains that " she can appreciate only in snch works, the passionate, the rhetorical, the nniversal or popular. She does not prize the false, but she does not always recognise the true." In a subsequent letter to his sister, Schiller appears to have found the illustrious Frenchwoman improved upon acquaintance, for he there expresses his admiration with more cordiality and less reserve. He now finds her a Phenomenon in her sex — for esprit and eloquence equalled but by few men — uniting with all the delicacy or finesse, obtained by intercourse with the great world, that rare earnestness and depth of mind obtained by most only through solitude.* In truth, whatever were the errors of Madame de Stael, there was in her character and her genius, a genuine nobleness akin to Schiller's ; and though much of her fame, founded on her conversational eloquence, passed away with herself, her works still attest that union of imagination with intellect — enthu- siasm with sense, which is never found but in minds of a great order, and in hearts which may indeed be misled by passion, but in which honesty and goodness are as instincts. * In the sixth volume of the " Correspondence "between Goethe and Schiller/ * and in Goethe's own " Tag-und Jahres-Heft," we may neverthe- less perceive that Madame de Stael was to both these illustrious Germans somewhat too oppressively brilliant and loquacious — somewhat approaching occasionally to that social infliction for which we have no phrase so expres- sive as that which one of our most eminent Englishmen somewhat bluntly applied to her : — " The cleverest woman in the world for such a bore, and the greatest bore in the world for so clever a woman." T 2 CHAPTER XII. " Wilhelm Tell "— Ill-health— Last sickness— Death— Burial. And now, in that mysterious circle in which the life of genius so frequently appears to move, Schiller, nearing the close of his career, returned to the inspirations with which it had commenced. His first rude Drama had burned with the wild and half-delirious fever of Liberty ; — Liberty, purified and made rational, gave theme and substance to his last. The euthanasia of the genius which had com- posed " The Robbers," was the " Wilhelm Tell." Goethe has observed, indeed, that, although the idea of freedom runs through all the works of Schiller, the earlier em- bodied the physical freedom, the later the ideal. But this cannot fairly be regarded as the distinction between " The Robbers " and "Wilhelm Tell." It is no ideal liberty for which the simple mountaineers, whom Schiller has drawn in outlines so large and muscular, aspire and struggle ; it is physical, practical, homely liberty — liberty of life and soil. It is this very practicability which really divides the " Tell " from " The Robbers : " in the last heaves the per- turbed sigh for a social revolution, — for some liberty contrary to all the forms and the very substance of the organised world ; it is an unreasoning passion that would risk a chaos for the chance that again may go forth the words— " Let there be light!" But in "Tell" the idea of liberty, intense and visible in itself, is yet cir- cumscribed to the narrowest possible boundaries; it is but the struggle of an honest and universal people for independence, without one whisper of ambition, without one desire of revenge : it is a revolution portrayed in an anti-revolutionary spirit; throughout the whole breathes the condemnation of the French anarchy ; it is an evoking of the true Florimel, that, beside her living THE LIFE OF SCHILLER. 277 and human Beauty, the false Florimel may dissolve into snow.* In the spring of 1804 Schiller visited Berlin, at which city he was received with signal honours ; in July we find him at Jena, where, while his wife was happily confined of her youngest daughter, his constitution was severely shaken by a feverish cold. He suffered much and fre- quently during the rest of the year, but his mental activity was undiminished : besides some of his minor poems, such as 4i The Alp Hunter," and " The Lay of the Hill," he was employed on a translation of Racine's "Phedre," and the outline of the tragedy of " Demetrius," never completed. He also, about this time or very little later, conceived the scheme of a Drama which, if suitably executed, would have been, perhaps, the most extraordinary of all his various compositions. The subject was to be the French Police — and the plot to have embraced all the evils and abuses of modern civilization. Such a work would indeed be of wide compass and noble uses, but it seems to require the space of a prose fiction, and it is difficult to compre- hend how it could have been contracted into the limits, and expressed in the form, of a Poetical Drama. It is noticeable, that the singular sympathy witli mankind which Schiller possessed, often makes him the father of ideas in others with whom no direct communication can be traced, — the seeds that spring up so lavishly in his humane intellect are dispersed by invisible winds to grow on every soil. This idea of depicting, by literary portraiture, the social ills of Civilization and France, is the main stock of more than half the French writers of our own day. — In Balzac, in Sand, in Sue, in Souvestre, living in the midst of the great whirlpool — are heard the echoes of the Thought which was only breathed inaudibly within the heart of the Poet-student of the tranquil Weimar. And with these recurrences to the peculiar inspirations of his youth, the desire of travel returned prophetically to one about to depart for ever from all earthly homes. He traced routes upon the chart, and spoke of plans and pilgrimages never to be realised. * See Schiller's own poem, entitled u William Tell," in which Ms object is briefly and simply explained. 278 THE LIFE OF SCHILLER. The reperusal of Herder's "Ideas on the History of Man" — to which (though he was often largely indebted to it) he did not before do justice 8 — seems also to have deepened his meditations npon Life, Nature, and Eternal Providence. "Christianity," he said to his gifted sister- in-law, " has stamped a new impression on Humanity, while it revealed a sublimer prospect to the soul." Accord- ing to this witness, Madame von Wolzogen — the best, for the most household, evidence — his faith increased as his life drew nearer to its goal. At length, after many preparatory warnings — visitings, a .-■ under the name of catarrhal fever, of his con- 180^' stitutional pulmonary disease — Schiller was stricken with his last illness on the 28th of April, 1805 ; Goethe, who was just recovering from a dan- gerous illness, called on Schiller, whom he found leaving his house for the theatre. He was too unwell to accom- pany, too polished to detain him, — they parted for the last time at the threshold of Schiller's door. At the close of the performance Schiller felt himself seized with a feverish attack. A young friend, Henry Voss (son of the cele- brated author of " Luise," &c.,), led him home. On calling the next morning, Voss found him stretched on the sofa between sleep and waking. "Here I lie again ! "he said in a hollow voice. As yet, however, he had no con- ception of his danger ; he thought to have discovered a treatment to ensure his recovery. His mind for some days continued clear, and the chief regret he expressed was for the interruption to " Demetrius." But on the 6th of May he began to wander : on that day Voss, visiting him again, observed that his eyes were deep sunken ; every nerve twitched convulsively : they brought him some lemons, at which he caught eagerly, but laid them down again with a feeble hand. Delirium came on : he raved of soldiers and war ; the word Lichtenberg, or Leuchtenburg (the former the name of an author whom he had been lately reading, the latter of a castle which he had long desired to visit), * He said to Madame von "Wolzogen, "I know not how it is, but this Book speaks to me after quite a new fashion." Herder and Schiller were not very familiarly intimate — they were too like each other for cordial con- currence. Both were essentially earnest, and therefore the differences between them resisted compromise. THE LIFE OF SCHILLER. 279 came often to his lips. On the evening of the 7th, his mind recovered ; he wished to renew his customary con- versations with his sister-in-law upon the proper theme and aims of tragedy ; she prayed him to keep quiet ; he answered, touchingly — " True ; now, when no one under- stands me, and I no more understand myself, it is better that I should be silent." Shortly before, he had concluded some talk on death with these striking words : " Death can be no evil, for it is universal." And now the thought of eternity seems to have occupied his mind in its dreams ,• for in sleep he exclaimed, " Is that your hell £ — is that your heaven ? " He then raised his looks, and a soft smile came over his face. It was, perhaps, on awaking from this sleep that he used those memorable words — " Now is life so clear! — so much is made clear and plain ! " In the evening he took some broth, . and said to his friends that " he thought that night to sleep well, with God's will." His faithful servant, who watched him, said that, during the night, he recited many lines from "Deme- trius," and once he called on God to preserve him from a long and tedious death-bed. On the morning of the 8th of May he woke up com- posed, and asked for his youngest child. She was brought to him. He took the infant's hand in his own. and gazed at her long with a look of unspeakable sorrow. He then began to weep bitterly, kissed the young face with emotion, and beckoned to them to remove the child. Towards the evening his sister-in-law approached his bed, and asked how he felt. ' ; Better and better, calmer and calmer," was his answer. He then longed once more to see the sun ; they drew aside the curtains ; he looked serenely on the setting light. Nature received his farewell. His sleep that night was disturbed ; his mind again wandered ; with the morning he had lost consciousness. He spoke incoherently, and chiefly in Latin. His last drink was champagne. Towards three in the afternoon came on the last exhaustion; the breath began to fail. Towards four, he would have called for naphtha, but the last syllable died on his lips ; — finding himself speechless, he motioned that he wished to write something ; but his 280 THE LIFE OF SCHILLER. hand could trace only three letters, in which was yet recog- nisable the distinct character of his writing. His wife knelt by his side ; he pressed her hand. His sister-in-law stood with the physician at the foot of the bed, applying warm cushions to the cold feet. Suddenly a sort of electric shock came over his countenance ; the head fell back ; the deepest calm settled on his face. His features were as those of one in a soft sleep. The news of Schiller's death soon spread through Weimar. The theatre was closed ; men gathered together in groups. Each felt as if he had lost his dearest friend. To Goethe, enfeebled himself by long illness, and again stricken by some relapse, no one had the courage to men- tion the death of his beloved rival. When the tidings came to Henry Meyer, who was with him, Meyer left the house abruptly, lest his grief might escape him. No one else had the courage to break the intelligence. Goethe perceived that the members of his household seemed em- barrassed, and anxious to avoid him. He divined some- thing of the fact, and said, at last, " I see, — Schiller must be very ill." That night they overheard him — the serene man, who seemed almost above human affection, who dis- dained to reveal to others whatever grief he felt when his son died — they overheard Goethe weep ! In the morning he said to a friend, "Is it not true that Schiller was very ill yesterday ? " The friend (it was a woman) sobbed. "He is dead," said Goethe faintly. "You have said it," was the answer. " He is dead ! " repeated Goethe, and covered his eyes with his hands. The body was dissected ; and it was some consolation to the mourners to know that much prolongation of life would have been beyond the art of medicine ; the left lung was destroyed, the ventricles of the heart wasted, the liver indurated, the gall-bladder extremely swelled. A son of the great Herder, one of the physicians who examined the body, thought it impossible that, under any circum- stances, he could have lived half a year, nor that without great suffering. Schiller was buried in the night of the 11th of May ; twelve young men of good family bore the coffin ; the heavens were clouded, but the nightingales sang loud and full. As the train proceeded, the sound of a horse's hoofs THE LIFE OF SCHILLEE. 281 was heard ; a rider dismounted and followed the proces- sion—it was Willi elm von TV r olzogen, who had heard the fatal news at Naumburg, and hastened to pay the last respect to the remains of his college friend. As the bier was lowered, the wind suddenly scattered the mists, the moon broke forth, and its light streamed upon the coffin. When all was over ? the skies were suddenly obscured a»;ain. CONCLUDING CHAPTER. CRITICAL SUMMARY. So, at the early age of forty-five, closed the earthly career of Friedrich Schiller. In this brief epitome of his life the reader will not fail to perceive the peculiar dis- tinctions of his character and mind : his singular ardour for Truth; his solemn conviction of the duties of a Poet; his prevailing idea, that the Minstrel should be the Preacher, — that Song is the sister of Religion in its largest sense, — that the Stage is the Pulpit to all sects, all nations, all time. ISTo author ever had more earnestness than Schiller, — his earnestness was the real secret of his greatness ; this combination of philosophy and poetry, this harmony be- tween genius and conscience, sprang out of the almost perfect, almost unrivalled equality of proportions which gave symmetry to his various faculties.^ With him the imagination and the intellect were so nicely balanced, that one knows not which was the greater ; owing, happily, to the extensive range of his studies, it may be said that, as the intellect was enriched, the imagination was strengthened. Unlike Goethe's poet in "Wilhelm Meister," he did not sing " as the bird sings," from the mere impulse of song, but he rather selected Poetry as the most perfect form for the expression of noble fancies and high thoughts. "His conscience was his Muse."t It was thus said of him with truth, "that his poetical excellence was of later growth than his intellectual;" and as the style of Lord Bacon ascended to its sonorous beauty in proportion as his mind became more stored, and his meaning more profound, so * Hence Mr. Carlyle well observes, ll Sometimes we suspect that it is the very grandeur of his general powers which prevents us from exclusively admiring his poetic genius. "We are not lulled by the siren song of poetry, because her melodies are blended with the clearer, manlier tone of serious reason, and of honest though exalted feeling." — Carlyle' s Life of Schiller, f " Sa conscience etoit sa Muse." — De fStael, THE LIFE OF SCHILLER. 283 the faculty of expression ripened -with. Schiller in exact ratio to the cultivation of his intellect. His earliest com- positions were written with difficulty and labour, and he was slow in acquiring thorough mastery over the gigantic elements of his language. Perhaps this very difficulty (for nothing is so fatal to the mental constitution as that verbal dysentery which we call facility) served both to increase his passion for his art, and to direct it to objects worthy the time and the care which, in his younger manhood, he was compelled to bestow upon his compositions. From this finely poised adjustment between the reasoning and the imaginative faculties, came the large range of his ambition, not confined to Poetry alone, but extending over the whole fields of Letters. We can little appreciate Schiller, if we regard him only as the author of " Wallen- stein," and the " Lay of the Bell ; " wherever the genius of his age was astir, we see the flight of his wing and the print of his fcotstep. While, in verse, he has made experi- ments in almost every combination, except the epic (and in that he at one time conceived aud sketched a noble out- line), embracing the drama, the ode, the elegy, the narrative, the didactic, the epigrammatic, and in each achieved a triumph, — in Prose, he has left monuments only less im- perishable in the various and rarely reconcilable lands of romance, of criticism, of high- wrought philosophical specu- lation, and impartial historical research. His romance of the " Ghost-Seer" is popular in every nation, and, if not perfect of its kind, the faults are those of a super-exuberant intellect, which often impedes, by too discursive a dialogue, the progress of the narrative, and the thread of the events. In this he resembled Godwin rather than Scott. If with "St. Leon" and "Caleb Williams" the "Ghost-Seer" rests in the second class of popularity, it is because, as with them, it requires a reflective mind to seize all its beauties, and yield to all its charms. In History, if Schiller did not attain to the highest rank, it was not because he wanted the greatest qualities of the historian, but because the subjects he selected did not admit of their full development. But while his works in that direction are amongst the most charming, impartial, and justly popular, of which his nation boasts, he has shown, in the introductory Lecture, delivered by himself 284 THE LIFE OF SCHILLER. at Jena, how grand his estimate of history was. His notions on history are worth whole libraries of history itself.* As a Philosophical Essayist, he is not perhaps very original (though in borrowing from Kant he adds much that may fairly be called his own), and rigid meta- physicians have complained of his vagueness and obscurity, f But his object was not that of severe and logical reasoning ; it was to exalt the art to which most of his essays were devoted ; to make the great and the pure popular ; to educate the populace up to purity and greatness. The ideal philosophy, as professed by Schiller, was, in fact, a kind of mental as well as moral Christianity, which was to penetrate the mind as well as the soul — extend to the arts of man as well as his creeds ; to make all nature a temple — all artists priests : Christianity in spirit and effect it was — for its main purpose was that of the Gospel faith, viz., to draw men out of this life into a purer and higher air of being — to wean from virtue the hopes of reward below — to make enjoyment consist in something beyond the senses. What holy meditation was to the saints of old, the ideal of ^Esthetic art was to the creed of Schiller. Therefore, his philosophy, in strict accordance with his poetry, w^as de- signed not so much to convince as to ennoble ; — and, therefore, though in the wide compass of Schiller's works there are passages which would wound the sincere and un- questioning believer; though in his life there were times when he was overshadowed by the doubts that beset inquiry ; though, in the orthodox and narrower sense of the word Christian, it would be presumptuous to define his sect, or decide on his belief ; the whole scope and tendency of his works, taken one with the other, are, like his mind, eminently Christian. No German writer — no writer, not simply theological — has done more to increase, to widen, and to sanctify the reverent disposition that inclines to Faith. * Of this lecture— " What is universal History, and with what views should it be studied?" — Mr. Carlyle observes justly, "There perhaps has never been in Europe another course of history sketched out on principles so magnificent and philosophical." — Carlyle' s Life of Schiller. f Mr. Carlyle, however, estimates the logical precision of Schiller more highly than many of Schiller's own countrymen ; and speaks of the iEsthetic Letters as " one of the deepest, most compact pieces of reasoning he is anywhere acquainted with." — Miscell. p. 62. THE LIFE OF SCHILLEB. 285 As Schiller's poetry was the flower of liis mind, so in his poetry are to be found, in their most blooming produce, all the faculties that led him to philosophy, criticism, and history. In his poetry are reflected all his manifold studies. Philosophy, criticism, and history pour their treasures into his verse. One of a mind so candid, and a life so studious, could not fail to be impressed by many and progressive influences. Schiller's career was one education, and its grades are strongly marked. Always essentially humane, with a heart that beat warmly for mankind, his first works betray the intemperate zeal and fervour of the Revolution which then in its fair outbreak misled not more the in- experience of youth than the sagacity of wisdom ; a zeal and fervour increased in Schiller by the formal oppression of academical tyranny ; * a nature unusually fiery and im- patient ; and a taste terribly perverted by the sentiment of Rousseau and the bombast of Klopstock. Friendship, love, indignation, poverty, and solitude, all served afterwards to enrich his mind with the recollection of strong passions and keen sufferings : and, thrown much upon himself, it is his own life and his own thoughts that he constantly re- produces on the stage. The perusal of Shakspeare has less visible and direct influence on his genius than he himself seems to suppose ; — the study of History has far more. From the period in which he steadily investigated the past, his characters become more actual ; his Humanity more rational and serene. He outgrows Rousseau ; the revolutionary spirit fades gradually from his mind ; he views the vast chronicle of man not with the fervour of a boy, but the calm of a statesman. At this time he begins to deserve the epithet Goethe has emphatically bestowed on him — he be- comes "practical " But with the study of history comes the crisis of doubt, the period of his scepticism and his anguish. From this influence he emerged into the purer air, which he never afterwards abandoned, of the ideal Philosophy. Here he found a solution of his doubts — a religion for his mind. Almost at the same time that his intellect is calmed and deepened by philosophy, his taste acquires harmonious symmetry and repose from the study of the ancient master- pieces. From that period, his style attains its final beauty * Thus Schiller himself calls his " Bobbers " a " monster produced by the unnatural union of Genius with Thraldom." 286 THE LIFE OF SCHILLER. of simplicity combined with stateliness, and vigour best shown by ease. A happy marriage, a fame assured, an income competent to his wants, serve permanently to settle into earnest and serious dignity a life hitherto restless — an ambition hitherto vague and undefined. Thenceforth he surrenders himself wholly to the highest and purest objects human art can attain. His frame is attacked, his health gone for ever ; but the body has here no influence on the mind. Schiller lives in his art ; he attains to the ideal existence he has depicted ; he becomes the Pure Form, the Archetype, the Gestcdt, that he has described in his poem of the " Ideal and the Actual ; " living divorced from the body — in the heavenly fields a spirit amongst the gods. It is now that we trace in his works the influences of two master-minds with which he lived familiarly — William von Humboldt and Goethe. 1 * The first we see in his mystical, typical, and Kantian compositions ; the last in the more lucid and genial spirit of his lyrics and his narratives. By degrees, the latter happily prevailed. As Humboldt re- ceded from the scene, and his intercourse with Goethe mellowed, Schiller comes out of the cloud into the light. He recognises the true ideal of art ; the clear expression of serene thought ; the Grecian Athene prevailing over the typical Egyptian Naith. The last influence produced on him by profane literature was in the works of Calderon, then just translated ; and which, according to the testi- mony of Goethe, deeply and sensibly impressed him. But he did not survive long enough for that impression to become apparent in his own compositions. We omit all detailed criticism of Schiller's Dramas ; for they have been made more or less familiar to the reader, by various translations, by repeated notices in our popular journals, and by the attention they have received in the biographical work of Mr. Carlyle. Our limits would not permit us to do justice to works requiring lengthened and elaborate considerations, or to enter into a controversy with other critics, from whom we may differ as fco their merits or defects. Briefly, it appears to us, that, like the dramas * The intimacy between Goethe and Schiller was the more remarkable, because it was almost purely intellectual. Goethe says, in a conversation with Eckermann, "that there was no necessity for especial fneudsHp between them — their common efforts made their noblest bond." THE LIFE OF SCHILLER. 287 of many great poets, from Byron np even to Shakspeare, their highest merit is not that purely dramatic. Perhaps of this quality there is more in the earlier than the later Tragedies. " The Robbers " is still upon the whole the most frequently acted of all Schiller's Plays. * Glancing over his riper performances, his grandest, in point of in- tellect, is " TVallenstein : " in point of verbal poetry, of music and expression, " The Bride of Messina" is the loveliest : in point of feeling and conception " The Maid of Orleans " most engrosses the heart and enlists the fancy. But the one in which Schiller, with the fullest suc- cess, emancipates his art from himself — in which, his own individuality the least moulds and influences his creations — seems to us the " Wilhelm Tell." As his chief merit, whether as Man or Artist, lay in bis earnestness, so in that earnestness lay his main defect as a writer for the Stage. He could not, as the stage-writer really ought, reflect in- differently — velutiin speculum — vice and virtue f — the mean and the sublime. He could not escape the temptation of placing in the mouths of his characters tbe sentiments he desired to enforce upon the world — even thougb the oc- casion was inappropriate. All his favourite characters talk too much — and too much as Schiller thought and Schiller felt. Morally one of the least selfish of men, — intellectually he is one of the most egotistical. Who that held the doctrine that the Dramatist, the Poet, should be the Preacher, could fail to be so ? He loved Truth too much to suffer her to be silent, whenever he had occasion to make her oracles be heard. The complex varieties — the sinuous windings of human character, are, for the most part, without the pale of Ms conscientious and stately * The true test of the Dramatic faculty, apart from the Poetical, is its practical adaptability to the stage. A play of very inferior literary merit may keep its hold on the boards, to the exclusion of works infinitely more poetical, by its dramatic qualities ; — viz., by the correspondence between the action of its plot and emotions the most generally popular. . . . Hence the vitality on the stage of plays that are almost despised in the library — such as the "Stranger," " Pizarro," &c. Kotzebue's dramatic talent, as separate from intellectual excellence or poetic inspiration, is positively wonderful, and deserves the minutest study of all practical writers for the stage. Of this, Schiller was fully aware. t Thus Madame de Stael well observes, " that he lived, spoke, and acted as if the wicked did not exist ; and when in his works he described them, it was with more exaggeration and less depth than if he had really known them." 288 THE LIFE OF SCHILLER. genius. He thus avoids (at least in his later works) the vulgar reproach attached to Goethe, and which might with equal truth be urged against Shakspeare, viz., that he makes error amiable, and clothes crime with charm. His characters are, for the most part, embodiments of great prin- ciples and great truths, rather than the flexible and multi- form representations of human nature, which, while ideal- ised into poetry, still render the creations of Shakspeare so living and distinct. Schiller is thus, on the whole, greater as a Poet than a Dramatist — so, indeed, is Shakspeare, but from entirely different and opposite causes: Shakspeare, from the ex- quisite subtlety of his imagination, which, in a Caliban, an Ariel, a Titania, escapes the grossness of representation ; Schiller, from too statuelike a rigidity and hardness : we do not see the veins at play beneath his marble. It is in the Collection of his Minor Poems that Schiller's true variety is best seen — a variety not of character, but of thought, of sentiment, of fancy, of diction, and of metre. In those poems are the confessions of his soul, as well as the exercises of his genius. For, with a little modification, what Jean Paul said of Herder, may be said of Schiller, " that he was less a Poet than a Poem/' — and therefore, all his poetry should be studied as illustrations of the Human Poem — Schiller himself ! Any comparison between Goethe and Schiller would be, and has been, but a futile attempt at comparing dissimi- larities.^ We shall waste no time in attempting to show where one' is greater or the other less. Brothers they were in life — let them shine together in equal lustre — the im- mortal Dioscuri — twin stars ! Nor shall we touch upon those theories of art which the mention of Schiller and Goethe calls into discussion amongst the metaphysical critics of their country. We cannot invent a set of school terms to prove, without farther discussion, that one poem is great because objective — another not so great because subjective. Beauty escapes all technical definitions; the art of estimating beauty — viz., criticism — must follow the genius it would examine through all its capricious wind- * Goethe himself is reported to have said, " The Germans are great fools to quarrel which should take the prior rank, Schiller or myself— they ought only to be too happy that they have us both." THE LIFE OF SCHILLER. 289 ings, and admire equally, Milton where subjective, — and where objective, Shakspeare. There is a class of poets in which self -consciousness is scarcely perceptible ; another in which it is pervading and intense. In the former class, Shakspeare and Homer tower pre-eminent ; in the latter, we recognise Dante and Milton — Schiller, Byron, and Burns. To the last two, Schiller, in some attributes of his genius, bears a greater resemblance * than perhaps to any of his own countrymen ; resembling them in the haunting sense of individuality — in the power of blending interest for the poet with delight in the poem — in the subordina- tion of sentiment to feeling — in the embodiment of what is peculiar in forms the most widely popular ; — resembling them in these points, differing from them no less widely in others, according as the different modifications of life, habits, education, heart, and conscience, differ in the English noble, the German student, the Scotch peasant. But in all three there is this characteristic of a common tribe — their poetry expresses themselves. To borrow the idea of Schiller himself, they seek truth in the heart within — others in the world without, — by each order of inquirer can truth equally be found : Or, to avail ourselves again of Schiller's accurate and noble distinction, whether light breaks into the variety of colours in which its in- dividuality is lost, or unites the colours into a single shimmer, it is still the light which vivifies and illumes the world. Mr. Carlyle quotes, with some approval, a dogmatic assertion,," that readers till their twenty-fifth year usually prefer Schiller; after their twenty-fifth year, Goethe." f If Herder and Novalis are right in their belief that the true elements of wisdom and poetry are found freshest and purest in the young, this is no disparagement to Schiller. It is, certainly, only in proportion as the glow for all that is noble in thought and heroic in character fades from the weaker order of mind, amidst the cavils, disgusts, and scepticism of later life, that the halo around the genius of Schiller, which is but a reflection of all that is noble and * Goethe himself has remarked the similarity in some points between Byron and Schiller. •f Carlyle' s Miscellanies, vol. iii. p. 65. 17 290 THE LIFE OF SCHILLER. heroic, wanes also into feebler lustre. For the stronger nature, which still " feels as the enthusiast, while it learns to see as the world-wise, " * . . . there is no conceivable reason why Schiller should charm less in maturity than youth. Finally, as, in the life of Schiller, the student may gather noble and useful lessons of the virtue of manly perseverance — of the necessity of continued self-cultiva- tion — of the alliance between labour and success — between honesty and genius ; — so in his Poems will be found, living and distinct, a great and forcible intellect ever appealing to the best feelings — ever exalting those whom it addresses — ever intent upon strengthening man in his struggles with his destiny, and uniting with a golden chain the outer world and the inner to the celestial throne. * Schiller, " Light and Warmth." ON THE CAUSES OF HORACE'S POPULARITY.* No one denies that there are greater poets than Horace ; and mnch has been said in disparagement even of some of the merits most popularly assigned to him, by scholars who have, nevertheless, devoted years of laborious study to the correction of his text or the elucidation of his meaning. But whatever his faults or deficiencies, he has remained unexcelled in that special gift of genius which critics define by the name of charm. Xo collection of small poems, ancient or modern, has so universally pleased the taste of all nations as Horace's Odes, or been so steadfastly secure from all the capricious fluctuations of time and fashion. In vain have critics insisted on the superior genius evinced in the scanty relics left to us of the Greek lyrists, and even on the more spontaneous inspiration which they detect in the exquisite delicacy of form that distinguishes the muse of Catullus. Horace still reigns supreme as the lyrical singer most enthroned in the affections, most congenial to the taste, of the complex multitude of students in every land and in every age. It is an era in the life of the schoolboy when he first com- mences his acquaintance with Horace. He gets favourite passages by heart with a pleasure which (Homer alone excepted) no other ancient poet inspires. Throughout life the lines so learnt remain on his memory, rising up alike in gay and in grave moments, and applying them- selves to varieties of incident and circumstance with the felicitous suppleness of proverbs. Perhaps in the interval between boyhood and matured knowledge of the world, the * [Prefixed to Lord Lytton's translations of the Odes and Epodes of Horace, published in 1869, after having appeared in the pages of " Black- wood's ^Magazine."] U 2 292 causes of Horace's popularity. attractive influence of Horace is suspended in favour of some bolder poet adventuring far beyond the range of his temperate though sunny genius, into the extremes of heated passion or frigid metaphysics — " Visere gostiens Qua parte debacchentur ignes, Qua nebulae pluviiquerores."* But as men advance in years they again return to Horace — again feel the young delight in his healthful wisdom, his manly sense, his exquisite combination of playful irony and cordial earnestness. They then discover in him innumer- able beauties before unnoticed, and now enjoyed the more for their general freedom from those very efforts at intense emotion and recondite meaning for which, in the revolu- tionary period of youth, they admired the writers who appear to them, when reason and fancy adjust their equilibrium in the sober judgment of maturer years, feverishly exagge- rated or tediously speculative. That the charm of Horace is thus general and thus imperishable, is a proposition which needs no proof. It is more interesting and less trite to attempt to analyse the secrets of that charm, and see how far the attempt may suggest hints of art to the num- berless writers of those poems which aim at the title of lyrical composition, and are either the trinkets of a tran- sitory fashion, or the ornaments of enduring vogue, ac- cording as they fail or succeed in concentrating the rays of poetry into the compactness and solidity of imperishable gems. ^ The first peculiar excellence of Horace is in his personal character and temperament rather than his intellectual capacities ; it is in his genial humanity. He touches us on so many sides of our common nature ; he has sympa- thies with such infinite varieties of men ; he is so equally at home with us in town and country, in our hours of mirth, in our moments of dejection. Are w T e poor ? he disarms our envy of the rich by greeting as a sj3ecial boon of the Deity the suffisance which He bestows with a thrifty hand ; and, distinguishing poverty from squalor, shows * [" . . .bounding blithely to visit Either pole, where the mist or the sun Holds the orgies of water or fire. "] causes of Horace's popularity. 293 what attainable elegance can embellish a home laro'e enough to lodge content. Are we rich ? he inculcates moderation, and restrains ns from purse-pride with the kindliness of a spirit free from asceticism, and sensi- tive to the true enjoyments of life. His very defects and weaknesses of character serve to increase his at- traction; he is not too much elevated above our own erring selves. Next to the charm of his humanity is that of his incli- nation towards the agreeable aspects of our mortal state. He invests the virtues of patience amidst the trials of adversity with the dignity of a serene sweetness, and exalts even the frivolities of worldly pleasure with associations of heartfelt friendship and the refinements of music and song. Garlands entwined with myrtle, and wine- cups perfumed with nard, seem fit emblems of the banqueter who, when he indulges his Genius, invokes the Muse and invites the Grace. With this tender humanity and with this plea- surable temperament is blended a singular manliness of sentiment. In no poet can be found lines that more rouse, or more respond to, the generous impulse of youth towards fortitude and courage, sincerity and honour, devoted patriotism, the superiority of mind over the vicissitudes of fortune, and a healthful reliance on the wisdom and goodness of the one divine providential Power, who has no likeness and no second, even in the family of Olympus. Though at times he speaks as the Epicurean, at other times as the Stoic, and sometimes as both in the same poem, he belongs -exclusively to neither school. Out of both he has poetised a practical philosophy which, even in its inconsistencies, establishes a harmony with our own inconsistent natures ; for most men are to this day in part Epicurean, in part Stoic. Horace is the poet of Eclecticism. Erom the width of his observation, and the generalising character of his reasoning powers, Horace is more em- phatically the representative of civilisation than any other extant lyrical poet. Though describing the manners of his own time, he deals in types and pictures, sentiments and opinions, in which every civilised time finds likeness and expression. Hence men of the world claim him as one of 294 causes of Horace's popularity. their order, and they cheerfully accord to him an admira- tion which they scarcely concede to any other poet. It is not only the easy good-natnre of his philosophy, and his lively wit, that secure to him this distinction, but he owes much also to that undefinable air of good-breeding which is independent of all conventional fashions, and is recognised in every society where the qualities that constitute good- breeding are esteemed. Catullus has quite as much wit, and is at least as lax, where he appears in the character of a man of pleasure — Catullus is equally intimate with the great men of his time, and in grace of diction is by many preferred to Horace ; yet Catullus has never attained to the same oracnlar eminence as Horace among men of the world, and does not, in their eyes, command the same rank in that high class of gentlemen — thorough-bred authors. For if we rightly interpret genius by ingeniurn — viz., the inborn spirit which accommodates all conventional circum- stances around it to its own native property of form and growth — there is a genius of gentleman as there is a genius of poet. That which his countrymen called urbanitas, in contradistinction to provincial narrowness of mind or vul- garity of taste, to false finery and affected pretence, is the essential attribute of the son of the Venusian freedman. And with this quality, which needs for brilliant develop- ment familiar converse with the types of mind formed by a polished metropolis, Horace preserves, in a degree un- known to those who, like Pope and Boileau, resemble him more or less on the town-bred side of his character, the simple delight in rnral nature, which makes him the favourite companion of those whom cool woodlands, peopled with the beings of fable, " set apart from the crowd." He might be as familiar with Sir Philip Sidney in the shades of Penshurst, as witlj. Lord Chesterfield in the saloons of Mayfair. And out of this rare combination of practical wisdom and poetical sentiment there grows that noblest part of his moral teaching which is distinct from schools and sects, and touches at times upon chords more spiritual than those who do not look below the sur- face would readily detect. Hence, in spite of his occasional sins, he has always found indulgent favour with the clergy of every Church. Among the dozen books which form the library of the village cure of France, Horace is sure to be CAUSES OF HORACES POPULARITY. 295 one ; and the greatest dignitaries of our own Church are among his most sedulous critics and his warmest pane- gyrists. With all his melancholy conceptions of the shadow-land beyond the Grave, and the half -sportive, half- pathetic injunction, therefore, to make the most of the passing hour, there lies deep within his heart a conscious- ness of nobler truths, which ever and anon find impressive utterance, suggesting precepts and hinting consolations that elude the rod of Mercury, and do not accompany the dark flock to the shores of Styx : " Virtus recludens immeritis mori Coelum negata tentat iter via." * Thus we find his thoughts interwoven with Milton's later meditations ; f and Condorcet, baffled in aspiration of human perfectibility on earth, dies in his dungeon with Horace by his side, open at the verse which says, by what arts of constancy and fortitude in mortal travail Pollux and Hercules attained to the citadels of light. It is, then, mainly to this large and many-sided nature in the man himself that Horace owes his unrivalled popularity — a popularity which has indeed both widened in its circle and deepened in its degree in proportion to the increase of modern civilisation. And as the popularity is thus so much derived from the qualities in which the man establishes friendly intimacy with all ranks of his species, so it is ac- companied with that degree of personal affection which few writers have the happiness to inspire. We give willing ear to the praise of his merits, and feel a certain displeasure at the criticisms which appear harshly to qualify and restrict them ; we are indulgent to his faults, and rejoice when the diligent research and kindly enthusiasm of German scholars redeem his good name from any aspersions that had been too lightly credited. It pleases us to think that most, perhaps all, among his erotic poems which had left upon our minds a painful impression, and which a decorous translator shuns, are no genuine expressions of the poet's own sentiment or taste, but merely a Roman artist's trans- lation or paraphrase from the Greek originals.]: We * [" Virtue essays her flight through ways to all but her denied ; To those who do not merit death she opes the gates of heaven."] f See Milton's Sonnet, rxi., To Cyriac Skinner. J The opinion at which most Horatian scholars have now arrived is well 296 causes of Horace's popularity. readily grant the absurdity of any imputation upon the personal courage of Brutus's young officer, founded upon the modest confession, that on the fatal field of Philippi, when those who most vaunted their valour fled in panic or bit the dust, he too had left his shield not too valiantly behind him ; he who, in the same poem, addressed to a brother soldier, tells us that he had gone through the worst extremities in that bloody war. For those pane- gyrics on Augustus which, in our young days, we re- garded as renegade flattery bestowed upon a man who had destroyed the political liberties for which the poet had fought, we accept the rational excuses which are sug- gested by our own maturer knowledge of life and of the grateful human heart, and our profounder acquaintance with the events and circumstances of the age. We see in the poems themselves, when fairly examined, with what evident sincerity Horace vindicates his enthusiastic admiration of a prince whom he identifies with the establishment of safety to property and life, with the restoration of arts and letters, with the reform of manners and the amelioration of laws. We can understand with what genuine horror a patriot so humane must have re- garded the fratricide of intestine wars, . and with what honest gratitude so ardent a lover of repose and peace would have exclaimed, — " Custode rcrum Caesare, non furor Civilis aut vis exiget otium." * If to the rule of one man this blessed change was to be ascribed, and if public opinion so cordially endorsed that assumption, that the people themselves placed their ruler in expressed by Estre in his judicious and invaluable work, " Horatiana Prosopograpneia : " " Credo Horatium prorsus abstinuisse a puerorum amor- ibus, etiamsi ipse, joeans, aliter de se profitcatur. Distabant, si quid judico, Horatii tempore, puerorum amores tantum a persona sancti castique vii quantum libera venus nostris temporibus abest. jSTovi autem hodie quoque, quis ignorat, juvencs virosque vel castissimos ct sanctissimos, inter amieos, animi causa, ita jocantes, quasi liberam venerem ardentissime sectarentur. Nee Libriiv. carm. i. euro, seriptum, uti egregie observavit Lessingius, post legem Juliam latam de pudieitia quinn nemo amplius amorem in puerum palam celebrare ausus fuisset." — P. 524:. * [" Caesar our guardian, neither eivil rage Nor felon violence scares us from repose. "] causes of Horace's popularity. 297 the order of Divinities — it scarcely needs even an excuse for the poet that he joined in the general apotheosis of the great prince, who to him was the benignant protector and the sympathising friend. When the population have once tested the security of established order, and, with terrified remembrance of the bloodshed and havoc of a previous anarchy, felt the old liberty rather voluntarily slip than be violently wrenched from their hands, a benevolent auto- cracy that consults the public opinion which installs it seems a blessing to the many, and is accepted as a neces- sity by the few. And if the professed statesmen and political thinkers of the time — the Pollios and the Messalas, the most eminent partisans of M. Antony, the noblest companions of Brutus — acquiesced, with the more courtly and consistent Maecenas, in the established govern- ment of Augustus, it would indeed be no reproach to a man whose mind habitually shunned gloomy anticipations of the distant future, that he could not foresee the terrible degeneration of manners and the military despotism which were destined to grow out of the clement autocracy of that accomplished prince who had won the title of " father of his country," and who might be seen on summer evenings angling in the Tiber, or stretched upon its banks amidst a ring of laughing children, with whom the Emperor whose word gave law to the Indian and the Mecle was playing with nuts and pebbles. What Horace was as man, can, however, furnish but little aid to those who desire to rival him as poet — little aid, indeed, except as it may serve to show how far a genial and cordial temperament, an independent and manly spirit, and a fellowship with mankind in their ordinary pursuits and tastes, contribute to the culture and amenities of the poet who would make his monument more lasting than bronze and more lofty than the pyramids. But in Horace, as artist, we may perhaps, on close examination, discover some peculiarities of conception and form sufficiently marked and pervasive to evince that with him they were rules of art ; so successful as to make them worthy of study, and hitherto so little noticed, even by his most elaborate critics, as to justify an attempt to render them more generally intelligible and instructive. In what 1 am about to eay on this head, I confine my 298 causes of Horace's popularity. remarks to the short lyrical pieces to which, commentators after his time gave the name of Odes, and on which his eminence as a poet must mainly rely. Whatever merit be ascribed to his Satires, it is scarcely in the power of genius to raise satire to an elevated rank in poetry. Satire, indeed, is the antipodes of poetry in its essence and its mission. Satire always tends to dwarf, and it cannot fail to caricature ; but poetry does nothing if it does not tend to enlarge and exalt, and if it does not seek rather to beautify than reform. And though such didactic and moralising vein as belongs to the Epistles of Horace be in itself much higher than satire, and in him has graces of style that, with his usual consummate taste, he rejects for satire, which he regards but as a rhythmical prose, still, the higher atmosphere in which the genius of lyrical song buoys and disports itself is not within the scope of that didactic form of poetry which " walks highest but not flies. " Hegel, in his luminous classification of the various kinds of poetry, has perhaps somewhat too sharply drawn the line between its several degrees of rank ; yet every one acquainted with the rudimentary principles of criticism must acknowledge, that just as it requires a larger com- bination of very rare gifts to write an epic or a drama which the judgment of ages allows to be really great, than to write a lyrical poem, so it demands a much finer combination of some of the rarest of those rare gifts to write a lyrical poem which becomes the song of all times and nations, than to write a brilliant sarcasm upon human infirmities, or an elegant lecture in the style of an Epistle. These last require but talents, however great, which are more or less within the province of prose-writers. The novel of " Gil Bias " or the Essays of Montaigne evince qualities of genius equal at least to those displayed in Horace's Satires and Epistles. But if you were to multiply Lesages and Montaignes ad infinitum, they could not ac- complish a single one of Horace's nobler odes. f Now, the first thing that strikes us in examining the secrets of Horace's art in lyrical poetry — and which I ven- ture humbly to think it would be well for modern lyrists to study — is his terseness. Terseness is one of the surest proofs of painstaking. Nothing was ever more truthful in art than the well-known reply of the writer to the friendly CAUSES OF HOE ACE'S POPULARITY. 299 critic, who said, " You are too prolix : " "I had not time to be shorter." We know from Horace himself that he bestowed upon his artist-work an artist's labour — " Operosa carmina jingo." He seems to have so meditated upon the subject he chooses as to be able to grasp it readily. There is no wandering after ideas — no seeking to prolong and over- adorn the main purpose for which he writes. If it be but a votive inscription to Diana, in which he dedicates a tree to her, he does not let his command of language carry him beyond the simple idea he desires to express. He seems always to consider that he is addressing a very civi- lised and a very impatient audience, which has other occu- pations in life besides that of reading verses ; and nothing in him is more remarkable than his study not to be tedious. Perhaps, indeed, it is to this desire that some of his shortcomings up to the mark which very poetical critics would assign to lyrical rapture are to be ascribed ; but it is a fault on the right side. The next and much more important characteristic of Horace as a lyrical artist is commonly exhibited in his grander odes, and often in his lighter ones ; and to this I do not know if I can give a more expressive word than picturesqueness. His imagination, in his Odes, predomi- nates over all his other qualities, great as those other qualities are ; and that which he images being clear to himself, he contrives in very few words to render it dis- tinct and vivid to the reader. When Lydia is entreated not to spoil Sybaris ; by enumerating the very sports for which her lover has lost taste, he brings before us the whole picture of an athletic young Roman noble — his achievements in horsemanship, swimming, gymnastics ; when, in the next ode, he calls on the Feastmaster to heap up the fagots, and bring out the wine, and enjoy his youth while he may, he slides into a totally different picture. Here it is the young Roman idler, by whom only the mornings are devoted to the Campus Martins, the after- noons to the public lounge, the twilights to amorous assignations ; and the whole closes still with a picture, the girl hiding herself within the threshold, and betrayed by her laugh, while the lover rushes in and snatches away the love token from the not too reluctant finger. When he 300 CAUSES OF HOEACE'S POPULARITY. invites Tyndaris to his villa, the spot is brought before the eye : the she-goats browsing amid the arbute and wild thyme ; the pebbly slopes of Ustica ; the green nook sheltered from the dog-star ; the noon- day entertainment ; the light wines and the lute. The place and the figures are before us as clearly as if on the canvas of a painter. He would tell you that he is marked from childhood for the destiny of poet ; and he charms the eye with the pic- ture of the truant infant asleep on the wild mountain- side, safe from the bear and the adder, while the doves cover him with leaves. With a rarer and higher attribute of art Horace intro- duces the dramatic element very largely and prominently into his lyrics. His picture becomes a scene. His ideas take life and form as personations. Does he wish to dis- suade his countrymen from the notion of transferring the seat of government from Rome to Asia, or perhaps, rather, from some large emigration and military settlement in the East ? He calls up the image of the Founder of Rome borne to heaven in the chariot of Mars ; ranges the gods in council on Olympus ; and puts into the lips of Juno tho warning which he desires to convey. Does he seek to dis- courage popular impatience for the return of the Parthian prisoners — viz., the soldiers of Crassus who had settled and married in the land of the conqueror ? He evokes the great form of Regulus urging the Senate to refuse to ransom the Roman captives taken by Carthage — places him as on a visible stage — utters his language, describes his looks, and shows him departing to face the tormentors, satisfied and serene. Would he console a girl for the ab- sence of her lover, and hint to herself a friendly caution against an insidious gallant ? In eight short stanzas he condenses a whole drama in personages and plot. Does he paint the reconciliation of two jealous lovers ? He makes them speak for themselves ; and their brief dialogue is among the most delightful of comedies. Would he tell us that he is going to sup with convivial friends ? He sud- denly transports us into the midst of the scene, regulates the toasts, calls for the flowers and music, babbles out his loves. The scene lives. Not to weary the reader with innumerable instances of this art of picture and of drama, so sedulously cultivated causes of Horace's popularity. 301 by Horace, I Trill only observe that the various imitators of Horace have failed to emulate this the most salient cha- racteristic of his charm in construction ; and that even his numerous commentators have but slightly noticed it — nay, some have even censured as a desultory episode that which, according to Horace's system of treating his subject, is the substance of the poem itself. For the commencing stanzas sometimes only serve as a frame to the picture which he intends to paint, or a prologue to the scene which he proposes to dramatise. Thus he begins a poem by an invocation to Mercury and the lyre to teach him a strain that may soften the coy heart of a young girl ; passes rapidly to the effect of music even upon the phantoms in the shades below ; the Danaides rest their urn, and then, as if the image of the Danaides spon- taneously and suddenly suggested the idea, he places on the scene the sister murderesses at night slaughtering their bridegrooms — and the image of Hypermnestra, the sole gentle and tender one, waking her lord and urging him to fly. So, again, when his lady friend, Galatea, is about to undertake a voyage, he begins by a playful irony about omens, hastens to the reality of stormy seas — and suddenly we have the picture of Europa borne from the field-flowers to the midst of the ocean. We behold her forlorn and alone on the shores of Crete — hearken to the burst of her despair and repentance — and see the drama conclude with the con- solatory appearance of Venus, and Cupid with his loosened bow. To some commentators these vivid presentations of dramatic imagery have appeared exotic to the poem — episodes and interludes. But the more they are examined as illustrative of Horace's peculiar culture of lyric art, the more (in this respect not unimitative of Pindar) they stand out as the body of his piece, and the developed completion of his purpose. Take them away, and the poems them- selves would shrink into elegant vers d 'occasion. Horace, in a word, generally studies to secure to each of his finer and more careful poems, however brief it be, that which play- writers call a "backbone." And even where he does not obtain this through direct and elaborate picture or dra- matic effect and interest, he achieves it perhaps in a sino-le stanza, embodying some striking truth or maxim of popular 302 causes op Horace's popularity. application, expressed with a terseness so happy, that all times and all nations adopt it as a proverb. We see, then, how much of his art in construction de- pends on his lavish employ of picture and drama — how much on compression and brevity. We must next notice, as constituent elements of Horace's peculiar charm, his employment of playful irony, and the rapidity of his tran- sitions from sportive to earnest, earnest to sportive ; so that, perhaps, no poet more avails himself of the effect of " sur- prise " — yet the surprise is not coarse and glaring, but for the most part singularly subdued and delicate — arising sometimes from a single phrase, a single word. He has thus, in his lyrics, more of that combination of tragic and comic elements to which the critics of a former age ob- jected in Shakspeare, than perhaps any poet extant except Shakspeare himself. The consideration of this admirably artistic fidelity to the mingled yarn of life, leads us on to the notice of Horatian style and diction. The character of the audience he more immediately ad- dresses will naturally have a certain effect on the style of an author, and an effect great in proportion to his practical good sense and good taste. ISTo man possessed of what the French call s avoir vivre, employs exactly the same style even in extempore discourse, whether he addresses a select audience of scholars or a miscellaneous popular assembly. The readers for whom Horace more immediately wrote were the polite and intellectual circles of Rome, wherein a large proportion were too busy, and a large proportion too idle, to allow themselves to be diverted very far, or for long at a stretch, into poetic regions, whether of thought or diction, remote from their ordinary topics and habitual lauguage. Horace does not, therefore, in the larger num- ber of songs composed — some to be popularly sung and all to be popularly read — build up a poetic language distinct from that of conversation. On the contrary, with some striking exceptions, where the occasion is unusually solemn, he starts from the conversational tone, seeks to familiarise himself winningly with his readers, and leads them on to loftier sentiment, uttered in more noble eloquence — just as an orator, beginning very simply, leads on the assembly he addresses. And possibly Horace's manner in this respect - — which, though in a less marked degree, is also that of causes of Horace's popularity. 803 Catullus in most of the few purely lyrical compositions the latter has left to us — may be traced to the influence which oratory exercised over the generation born in the last days of the Republic. For in the age of Cicero and Hortensius it may be said that the genius of the Roman language developed itself rather in the beauties which belong to oratory than those which lie more hidden from popular appreciation in the dells and bosks of song. And as the study of rhetoric and oratory formed an essential part of education among the Roman youths con- temporary with Horace, so that study would unconsciously mould the taste of the poet in his selection and arrange- ment of verbal decorations. Be the cause what it may, nothing is more noticeable in Horace's style than its usual conformity with oratorical art, its easy familiarisation with the minds addressed, its avoidance of over-floridity and recondite mysticism, and its reliance for effects that are to fascinate the imagination, touch the heart, rouse the soul, upon something more than the delicacies of poetic form. His reliance, in short, is upon the sentiment, the idea, which the glow of expression animates and illumes. Thus that curiosa felicitas v&rborwm justly ascribed to Horace has so much of the masculine, oratorical character — so unites a hardy and compact simplicity of phrase with a sentiment which itself has the nobleness or grace of poetry (as oratorical expression of the highest degree ever has) — that of all ancient poets Horace is the one who most fur- nishes the public speaker with quotations sure of striking effect in any public assembly to which the Latin language is familiar. Take one example among many. Mr. Pitt is said never to have more carried away the applause of the House of Commons than when, likening England — then engaged in a war tasking all her resources — to that image of Rome which Horace has placed in the mouth of Hannibal — he exclaimed : — " Duris ut ilex tonsa biperrnibus Nigrte feraci frondis in Algido, Per darruia, per caedes, ab ipso D licit opes anhnunigue ferro. " * * [" Even as the ilex, lopped by axes rude, "Where rich with dusky boughs, soars Algidus, Through loss, through wounds, receives New gain, new life — yea, from the very steel."] 304 causes of Horace's popularity. Now, this passage, when critically examined, does not owe its unmistakable poetry to any form of words, any startling epithet, inadmissible in prose, but to an illustra- tion at once very noble and yet very simple ; and, in rapidity of force, in the development and completion of the idea, so akin to oratory, that an impassioned speaker who had his audience in his hands might have uttered the substance of it in prose. I may perhaps enable the general reader to comprehend more clearly what I mean by Horace's art in diction as starting from the conversational tone, and, save on rare occasions, avoiding a style antagonistic to prose, by a re- ference to the two loveliest, most elaborate, and most perfect lyrics in our own language — " L' Allegro " and " II Pense- roso." In these odes Milton takes for representation the two types of temperament under which mankind are more or less divisibly ranged — viz., the cheerful and the pensive. But he treats these two common varieties of all our race as a poet, of a singularly unique temperament himself, ad- dressing that comparatively small number of persons who are poetically cheerful or 'poetically pensive. And in so addressing them his language is throughout essentially distinct from prose : it is, like most of his youthful poems, the very quintessence of poetic fancy, both in imagery and expression. Perfectly truthful in itself, the poetry in these masterpieces is still not of that kind of truthfulness which comes home to all men's business and bosoms. Like the poet's own soul, it is "a star, and dwells apart." It may be doubted whether Horace, in his very finest odes, ever, in his maturest age, wrote anything so exquisitely poeti- cal, regarded as pure poetry addressed to poets, as these two lyrics written by Milton in his youth. But then the difference between them and Horace's Odes is, that out of England the former are little known — certainly not appre- ciated. # Their beauty of form is so delicate, that it is only the eye of a native that can detect it — their truthful- * It may be said in answer to this, that on the Continent Latin is more read than English. True ; but that does not prevent those English poets who address themselves to a cosmopolitan audience, as Shakspeaie, and I may add Byron, being as well appreciated on the Continent as any Latin author is ; and I doubt whether even in England there be as many readers of poetry familiar with " L' Allegro " and "II Penseroso" as there are with the Odes of Horace. causes of Horace's popularity. 305 ness to nature so limited to a circumscribed range of mind, that, even in England, neither the mirthful nor the melan- choly man, unless he be a poet or a student, recognises in either poem his own favourite tastes and pleasures. But where Horace describes men's pleasures, every man finds something of himself; the familiar kindliness of his lan- guage impresses its poetry upon those who have no preten- sion to be poets. Had Horace written with equal length and with equal care an "Allegro " and a " Penseroso," not only the poet and the student, not only the man of sentiment and reflection, but all varieties in our common family — the young lover, the ambitious schemer, the man of pleasure, the country yeoman, the city clerk, even the rural labourer — would have found lines in which he saw himself as in a mirror. Thus, then, Horace's exquisite felicity of wording is for the most part free from any sustained attempt at a lan- guage essentially distinct from that of conversation ; and for that very reason its beauties of poetical expression both please and strike the more, because they have more the air of those spontaneous flashes of genius which delight us in a great orator or a brilliant talker. I cannot pass by without comment a characteristic of " form " which, though found more or less in other ancient Poets, and not least in Virgil, is too strikingly conspicuous in Horace to escape the notice of any ordinary critic ; yet no critic has attempted satisfactorily to define the principles of art to which its peculiar fascination may be traced. It is in the choice of epithets derived from proper names, or rather the names of places, by which "generals" are individualised into " particulars." The sea is not the sea in general — it is the Hadrian, or the Myrtoan, or the Caspian sea ; the ship is not a ship in general — it is the Cyprian or the Bithynian ship ; the oaks, which are not always shaken by the blast, are not the oaks in general — they are the oaks upon Garganus ; the ilex, which thrives by being pruned, is not an ilex in general — it is the ilex upon Algidus ; and so forth, through innumerable in- stances. That in this peculiarity there is a charm to the ear and the mind of the reader, no one acquainted with Horace will deny. But whence that charm ? Partly be- cause it gives that kind of individuality which belongs to x 306 CAUSES OF HORACES POPULARITY. personation — it takes the object out of a boundless common-place, and rivets the attention on a more fixed and definite image ; but principally because, while it thus limits the idea on the prosaic side of the object, it enlarges its scope, by many vague and subtle associations, on the poetic side. When a proper name is thus used — a proper name suggesting of itself almost insensibly to the mind the poetic associations which belong to the name — the idea is enlarged from a simple to a complex idea, adorned with delicate enrichments, and opening into many dim recesses of imagination. The keel of a ship suggests only a keel ; but the Cyprian keel connects itself with dreamy recollections of all the lovely myths about Cyprus. The ilex unpartieularised may be but an ilex by a dusty roadside, or in the grounds of a citizen's villa ; but the ilex of Algidus evokes, as an accompanying image, the haunted mountain- top sacred to Diana. The verse of Milton is largely indebted to such recourse to poetic proper names for the delight it occasions, not more by melodious sounds than by complex associations. Walter Scott owes much of the animation of his lyrical narratives to his fre- quent use of proper names in scenery connected with historic association or romantic legend ; and Macaulay's Roman Lays push the use of them almost to too evidently artificial an extreme, savouring a little overmuch of elabo- rate learning and perceptible imitation. But on the whole this exquisite beauty — in lyrical composition especially — is rare among later poets and may be safely commended to their study. It is noticeable that Horace has little or nothing of it in the Epodes (his earliest published poems, except the First Book of the Satires). Perhaps he thought it more especially appropriate to purely lyrical composi- tion, such as the Odes, than to the Epodes, which are not lyrical in form, and, with one exception, Epode xiii., are but partially lyrical in spirit. For it might be wrong to infer that it only occurred to him in the riper practice of his general art as poet, since some of the Odes in which it is found, though not published till after the Epodes, must have been composed within the period to which the latter are assigned. The defects or shortcomings of Horace as a poet are, like those of all original writers, intimately connected with his causes of Horace's popularity. 307 peculiar merits. His strong good sense, and that which may be called the practical tendency of his mind in his views both of life and art, while they serve to secure to him so unrivalled a popularity among men of the world, not only deter him from the metaphysical speculation which would have been not less wearisome to the larger portion of his readers than distasteful to himself, as appertaining to those regions beyond the province of the human mind, " at which Jove laughs to see us outstretch our human cares/' — but rarely permit him to plumb very far into the deejDS of feeling and passion. Marvellously as he repre- sents the human nature we have all of us in common, each thoughtful man has yet in him a something of human nature peculiar to himself, which, like the goal of the Olympian charioteer, is sometimes almost grazed, but ever shunned, by the rapid wheels of the Yenusian. It may also be said that his turn for irony, or his de- ference to the impatient taste of a worldly audience, while serving to keep the attention always pleased, and con- tributing so largely to his special secrets in art, some- times shows itself unseasonably, and detracts from the effect of some noble passage, or interrupts the rush of some animated description. Take but one instance among many. In an ode which is among his grandest — Book IV., Ode iv., " Qualem ministrum f ulminis alitem " — when he comes, after imagery of epic splendour, to the victory of Drusus over the Vinde- lici, he checks himself to say, with a sort of mockery which would have been well in its place at a supper-table, that where the Vindelici learned the use of the Amazonian battle-axe he refrains from inquiring, for it is not possible to know everything. No doubt there was some " hit " or point in this parenthetical diversion which is now lost to us ; possibly it was a satirical allusion to some pedantic work or antiquarian speculation which was among the literary topics of the day ; but every reader of critical taste feels the jar of an episodical levity, inharmonious to all that goes before and after it.* It is like a sarcasm of Voltaire's thrust into the midst of an ode of Pindar's. * Some critics have indeed proposed to omit these digressive verses alto- gether, and consider them an impertinent interpolation by an inferior hand. But this is an audacity of assumption forbidden by the authority of manu- X 2 308 CAUSES OF HOE ACES POPULARITY. From causes the same or similar, Horace's love-poetry has been accused of want of deep feeling, and compared in this' respect, disadvantageously, to the few extant frag- ments of Sappho. But here it may be observed, that in the whole character of Horace there is one marked idiosyncrasy which influences the general expression of his art. Like many men of our day, who unite to familiar intercourse with fashionable and worldly society an in- herent sincerity and a dread of all charlatanic pretences, Horace is even over-studious not to claim any false credit for himself — not to pretend to anything which may not be considered justly his due ; he will not pretend to be better born or richer, wiser or more consistent, or of a severer temper than he is. In his Satires and Epistles he even goes out of his way to tell us of his faults. In his Odes themselves — with all his intense and candidly uttered convictions of their immortality — he seizes frequent occa- sion for modest reference to the light and trivial themes to which his lyre and his genius are best suited. A man of this character, and with a very keen susceptibility to ridicule, would perhaps shun the expression of any feeling in love much deeper in its sentiment, or much more de- voted in its passion, than would find sympathy with the men of the world for whom he principally wrote. If he ever did compose love-poems so earnest and glowing, I think it doubtful whether he would have prevailed on him- self to publish them. To a poet who so earnestly seeks to inculcate moderation in every passion and desire, there would have seemed something not only inconsistent with his general repute as writer, but perhaps something offen- sive to his own sense of shame and the manliness of his nature, in that passionate devotion to the charms of a Cynthia to which Propertius refers the source of his inspiration and his loftiest pretension to the immortality of renown. And Horace is so far right, both as man and as artist, in the mode in which he celebrates the smiling goddess round whom hovers Mirth as well as Cupid, that, as man, one really would respect him less if any of those young ladies, who seem to have been too large-hearted to scripts, and justly denounced by the editors and critics whose opinions on such a subject Horatian students regard as decisive. causes of Horace's popularity. 309 confine their affection to a single adorer, had inspired him with one of those rare passions which influence an entire existence. We should feel as mnch shame as compassion for any wise friend of ours whom Yenus linked lastingly in her brazen yoke to a Lydia or a Pyrrha. And as an artist, Horace appears so far right in his mode of dealing with erotic subjects, that, despite all this alleged want of deep feeling and passionate devotion, Horace's love-poetry is still the most popular in the world — the most imitated, the most quoted, the most remembered. The reason, perhaps, is, that most men have loved np to the extent that Horace admits the passion, and very few men have loved much beyond that limit. jSTot withstanding the amazing pains taken by grave pro- fessors and erudite divines to ascertain the history of Horace's love-affairs — to tell us wlio and what those young beauties were — whom he loved first and whom he loved last — how many of them are to be reduced to a select few, one being sung nnder different names lending their syllables to the same metrical convenience, so that Cinara, Lalage, Lydia, are one and the same person, &c. — the ques- tion remains insoluble. Some scholars have had even the cold-blooded audacity to assert that, with the single ex- ception of Cinara, and some strange sort of entanglement with the terrible sorceress to whom he gives the name of Canidia, all these Horatian beauties are myths and fig- ments — as purely dreams as those out of the ivory gate — many of them, no doubt, translations, more or less free, from the Greek. The safest conjecture here, as in most cases of disputed judgment, lies between extremes. It is probable enough, that a man like Horace — a man of wit and pleasure — thrown early into gay society, and of a very affectionate nature, as is evinced by the warmth of his friendships — should have been pretty often in what is com- monly called "love " during, say, thirty-nine years out of the fifty-seven in which he led a bachelor's life. And as few poets ever have been more subjective than Horace— ever received the aspect of life more decidedly through the medium of their own personal impressions — or more re- garded poetry as the vehicle of utterance for their opinions and doctrines, their likings and dislikings, their joys and 310 CAUSES OF HOB ACE ? S POPULARITY. their sorrows — so it may be reasonably presumed that in many of his love-verses he expresses or symbolises his own genuine state of feeling. Nor if in some of these there be detected imitations from the .-Greek, does such imitation suffice to prove that the person addressed was imaginary, and the feeling uttered insincere. Nothing is more common among poets than the adaptation of ideas found elsewhere to their own individual circumstances and self- confessions. When Pope paraphrases Horace where Horace most exclu- sively personates himself, Pope still so paraphrases that the lines personate Pope and not Horace ; and one would know very little of the subjective character of Pope's mind and genius who could assert that he did not utter his own genuine feelings in describing, for instance, his early life and his early friendships, because the description was imitated from a Latin author. On the other hand, it is impossible to distinguish with any certainty what really does thus illustrate the actual existence of Horace, and does utter the sounds of his own heart, from those purely objective essays of his genius (for, like all poets who have the dramatic faculty strongly developed, he is objective as well as subjective) which were the sportive exercises of art, and the airy embodi- ments of fancy. It is safest here to leave an acute reader to his own judgment ; and it is one of those matters in which acute readers will perhaps differ the most. Among the faults of Horace may also be mentioned his marked tendency to self- repetition, and especially to the repetition of what one of his most admirable but least enthusiastic editors bluntly calls his " commonplaces : " viz., the shortness of life ; the wisdom of seizing the present hour ; the folly of anxious research into an unknown future ; the vanity of riches and of restless ambition ; the happiness of a golden mediocrity in fortune, and an equable mind in the vicissitudes of life. But these itera- tions of ideas, constituting the body of his ethics, if faulty — inasmuch as the ultima linea of his range may therein be too sharply defined — are the inseparable consequence of the most beautiful qualities of his genius. They mark the consistent unity and the sincere convictions of the man — they show how much his favourite precepts are part and parcel of his whole moral and intellectual organisation. causes of Horace's popularity. 311 Whether conversing in his Satires, philosophising in his Epistles, giving free play to invention in his Odes — still he cannot help nttering and re-nttering ideas the combina- tion of which constitutes himself. And as the general effect of these ideas is soothing, so their prevalence in his verse has a charm of repose similar to the prevalence of green in the tints of nature : we greet the constant recur- rence of the soft familiar colour with a sensation of pleasure even in its quiet monotony. Perhaps in most writers who have in a pre-eminent degree the gift of charm, there is, indeed, a certain fondness for some peculiar train of thought, the repetition of which gains the attraction of association. We should be disappointed, in reading such writers, if we did not find the ideas which characterise them, and for which we have learned to seek and to love them, coming up again and again like a refrain in music. It is so with some of our own poets — Goldsmith, Cowper, and Byron — who, alike in nothing else, are alike in the frequent recurrence of the ideas which constitute the characteristic colourings of their genius, and who, in that recurrence, deepen their spell over their readers. I believe, then, that the attributes thus imperfectly stated are among the principal constituent elements of Horace's indisputable charm, and of a popularity among men of various minds which extends over a wider circle than perhaps any other ancient poet commands, Homer alone excepted. It is a popularity not diminished by the limits imposed on the admiration that accompanies it. Even those critics who deny him certain of the higher qualities of a lyrical poet, do not love him less cordially on account of the other qualities which they are pleased to accord to him. It is commonly enough said that, either from his own deficiencies or those of the Latin language, he falls far short of the Greek lyrical poets in fire, in passion, in elevation of style, in varied melodies of versification. Granted : but judging by the scanty remains of those poets which time has spared, we find evidence of no one — unless it be Alcaeus, and conjecturing what his genius might have been as a whole less by the fragments it has left than by Horace's occasional imitations — no one who combines so many excellences, be they great or small, as 312 causes of Horace's popularity. even a very qualified admirer must concede to Horace ; no one who blends so large a knowledge of the practical work-day world with so delicate a fancy, and so graceful a perception of the poetic aspects of human life ; no one who has the same alert quickness of movement U/ from gay to grave, from lively to severe ; " no one who unites the same manly and high-spirited enforcement of hardy virtues, temperance and fortitude, devotion to friends and to the native land, with so pleasurable and genial a tempera- ment ; no one who adorns so extensive an acquaintance with metropolitan civilisation by so many lovely pic- tures of rural enjoyment ; or so animates the description of scenery by the introduction of human groups and images, instilling, as it were, into the body of outward nature the heart and the thought of man. So that where his genius may fail in height as compared with Pindar, or in the intensity of sensuous passion as compared with Sappho, it compensates by the breadth to which it extends its survey, and over which it diffuses its light and its w 7 armth. Of all classical authors Horace is the one who has most attracted the emulation of editors and commentators* Students, indeed, have some reason to complain of the very attempts made by learning and ingenuity to deter- mine his text and interpret his meaning. No sooner have they accustomed themselves to one edition than a new one appears to challenge the authority they had deferred to, and disturb the reading they had accepted. Paraphrases and translations are still more numerous than editions and commentaries. There is scarcely a man of letters who has not at one time or other versified or imitated some of the Odes ; and scarcely a year passes without a new translation of them all. No doubt there is a charm in the proverbial difficulty of dealing with Horace's modes of expression ; but perhaps the true cause which invites translators to encounter that difficulty has been sufficiently intimated in the preceding remarks — viz., the comprehensive range of his sympathy with human beings. He touches so many sides of character, that on one side or the other he is sure to attract us all, and we seek to clothe in his words some causes of Horace's popularity. 313 isbed feeling or sentiment of our own. Be that as it , an unusual degree of indulgence has by tacit consent . accorded to new translations from Horace. Readers unacquainted with the original are disposed to welcome every fresh attempt to make the Venusian Muse express herself in familiar English ; and Horatian scholars feel an interest in examining how each succeeding translator grapples with the difficulties of interpretation which have been, as many of them still are, matters of conjecture and dispute to commentators the most erudite, and critics the most acute. May a reasonable share of such general indulgence be vouchsafed to that variety in the mode of translation of which I now propose to hazard the experiment, I have long been of opinion that the adoption of other rhymeless measures than that to which we at present con- fine the designation of blank verse would be attended with especial advantage in translations from the classical poets, and, indeed, in poems founded upon Hellenic and Roman myths, and treated in the classical character and spirit. In that belief I began many years ago these translations from Horace, and more recently submitted to the public the experiment of the metres employed in the " Lost Tales of Miletus.''* I will not lengthen this preface by any de- finition of the general rhythmical principles upon which, in my judgment, lyrical measures that, taking the form of strophe or stanza, dispense with rhyme, should be invented and framed. Should any writer be tempted hereafter to repeat and improve on my experiments, he will easily de- tect the laws I have laid down for myself, and adopt, modify, or reject them, according to his own idiosyncrasies of ear and taste. So far as these translations are concerned, it will be seen that I have shunned any attempt to transfer to our own language the exact form of the original metres. I have rather sought to construct measures in accord- ance with the character of English prosody, akin to the prevalent spirit of the original, and of compass sufficient to allow a general adherence to the rule of translating line by line, or at least strophe by strophe, without need- less amplification on the one hand, or harsh contraction on the other. 314 CAUSES OF HOE ACE'S POPULARITY. The same licence of diversifying the metres employee translation, according as the prevalent spirit of the demands lively and sportive, or serious and digni: expression, in which most of the rhyming translators un- scrupulously indulge, must be conceded to him who re- jects, rhyme from his version. We have no English metres, rhymed or unrhymed, so supple for the expressing of opposing sentiment or emotion as are the Alcaic, and even the Sapphic, in the hands of Horace ; and if we desire to be true to the spirit of Horace, we have no option but to vary his form, and not always preserve for loose and sprightly movement the same mechanical ar- rangement of syllables which accords with the march of the serried and the grave. For the Alcaic stanza I have chiefly employed two different forms of rhythm ; the one, which is of more frequent recurrence, as in Ode ix. — the other, as in Odes xxxiv.-xxxv., Book I. But in both these forms of rhythm I have made occasional variations. For the Sapphic metre, in which Horace has composed more odes than in any other except the Alcaic, I have avoided, save in one or two of the shorter poems, any imitation of the chime rendered sufficiently familiar by Canning's " Knife-grinder, " not only because, in the mind of an English reader, it is associated with a popular bur- lesque, but chiefly because an English imitation of the Latin rhythm, with a due observance of the trochee in the first three lines of the stanza, has in itself an unpleasant and monotonous sing-song. In my version of the Sapphic I have chiefly employed two varieties of rhythm : for the statelier odes, our own recognised blank verse in the first three lines, usually, though not always, with a dissyllabic termination; and, in the fourth line, a metre analogous in length and cadence to the fourth line of the original, though, of course, without any attempt at preserving the Latin quantity of dactyl and spondee. In fact, as Dr. Kennedy has truly observed, the spondee is not attain- able in our language, except by a very forced effort of pro- nunciation. That which passes current as an English spondee is really a trochee. For the lighter odes of the Sapphic metre, a more sportive or tripping measure is adopted. CAUSES OF HOE ACE ? S POPULARITY. 315 I must leave my versions of the other metres which Horace has less frequently employed to speak for them- selves. In the Latin version, placed side by side with the English, I have generally adopted the text of Orelli. The rare instances in which I have differed from it for that of another editor are stated in the notes. For the current punctuation — which in Orelli, and indeed in Macleane, is so sparse as not unfrequently to render the sense obscure to those not familiarly intimate with it — I am largely in- debted to the admirable edition of Mr. Yonge. The modes of spelling preferred by Bitter and Mr. Munro as more faithful transcripts of the ancient MSS., involve questions of great interest to professional scholars, but are as yet too unfamiliar to the general reader for adoption in a text especially designed for his use, and annexed to the English translation for the convenient facilities of reference and comparison. My objects in the task I have undertaken have com- pelled me to add in some degree the labour of a critic to that of a translator. The introductions prefixed and the notes appended to the several odes are designed not only to serve for readers unacquainted with the original, but to bring, in a terse and convenient form, before such students of Horace as may not have toiled through the many and often conflicting commentaries of the best editors, the opinions of eminent authorities upon difficult or disputed questions of interpretation. In my notes will be seen the extent to which I am indebted not only to Dillenburger, Orelli, Bitter, but to our own recent English editors, Macleane and Yonge — and, on certain points of con- troverted interpretation, to Mr. Munro' s erudite and valuable introduction to the beautiful edition illustrated from antique gems, by Mr. King. The majority of critics concur in the doctrine that all the Odes in Horace, differing in this respect from the Epodes, consist of stanzas in four lines, as the Alcaic and Sapphic do. This opinion has been ably controverted by Bitter. Munro declines either to affirm or deny it. But conformably to the general opinion, I have treated, and s@ translated, the Odes as quatrains, with four exceptions, for which I subjoin my reasons. 316 causes of hobace's popularity. Odes i. Book L, xxx. Book III., and viii. Book IV., are in the same metre, and the only ones that are ; but Ode viii. Book IV. consists of thirty-four lines, and cannot there- fore be reduced to quatrain stanzas ; and the supposition that two verses required for such subdivision have been lost — no evidence of such loss appearing in the oldest MSS. or being intimated by the early commentators — is a hazardous basis on which to rest the theory that the poem must have been originally composed in quatrain. It is also to be observed that Ode i. Book I. so little adapts itself to the division of four-line stanzas with a suitable pause, that Mr. Tonge follows Stallbaum in printing the first two lines as prefatory to the rest, and the last two lines as the complement of the stanza. But it is a somewhat bold proceeding, for the sake of establishing an arbitrary sys- tem, thus to cut a stanza in half, placing one half at the beginning and the other half at the end of a poem ; nor does the arrangement entirely effect the object aimed at, if, as Macleane and Munro contend, a full stop should be placed at the end N of the fifth line — " nobilis." Even the remaining ode in this metre — Ode xxx. Book III. — does not readily flow into quatrain, the pause not occurring at the fourth and eighth lines, but at the fifth and ninth. I have not, therefore, in my translation, divided these three odes into stanzas. Lastly, I have followed Dillenburger, Orelli, Macleane, Munro, in the arrangement of Ode xii. Book III. as a stanza of three lines, instead of adopting the quatrain arrangement of Kirchner, to be found in the excursus of Orelli, and favoured by Mr. Yonge. The Secular Hymn I have printed in its proper chrono- logical place, between Books III. and IV. I concur in the reasons which have led recent editors to reject the headings to the Latin version, which are found in the MSS. ; but I have given headings to the translation, for the convenience of reference which they afford to English readers. It remains for me only gratefully to acknowledge my obligations to the distinguished scholars who have per- mitted me to consult them in the course of this trans- lation. Many years ago I submitted the earliest specimens of my attempts to my valued friend Dr. Kennedy. His encouragement induced me to proceed with my under- CAUSES OF HOE ACES POPULARITY. 317 taking, while bis advice and suggestions enabled me materially to improve it. With no less liberal a kindness another friend, the Rev. F. W. Farrar, has permitted me to encroach on his time, and profit by his taste and his learning. Much more could I say in gratitude, as to the services so generously rendered me by these eminent scholars, were it not for the fear that I might seem in so doing to shelter my defects and shortcomings under the authority of their names. It is enough for me to acknow- ledge that to them must be largely ascribed any merit which may be accorded to my labours, and that without their aid my faults would have been much more numerous and grave. ON ART IN FICTION. Art is that process by which we give to natural materials the highest excellence they are capable of re- ceiving. We estimate the artist, not only in proportion to the success of his labours, but in proportion to the intellectual faculties which are necessary to that success. Thus a watch by Breguet is a beautiful work of art, and so is a tragedy by Sophocles : — The first is even more perfect of its kind than the last, but the tragedy reqnires higher in- tellectual faculties than the watch, and we esteem the tragedian above the watchmaker. The excellence of art consists in the fitness of the object proposed with the means adopted. Art carried to its per- fection would be the nnion of the most admirable object with the most admirable means : in other words it would require a greatness in the conception correspondent to the genius in the execution. But as mechanical art is sub- jected to more definite and rigorous laws than intellectual art, so, in the latter, a comprehensive critic regards the symmetry of the whole with large indulgence towards blemishes in detail. We contemplate mechanical art with reference to its utility — intellectual art with reference to its beauty. A single defect in a watch may suffice to destroy all the value of its construction ; — a single blemish in a tragedy may scarcely detract from its effect. In regarding any work of art, we must first thoroughly acquaint ourselves with the object that the artist had in view. Were an antiquarian to set before us a drawing, illustrative of the costume of the Jews in the time of Tiberius, we should do right to blame him if he presented to our eye goblets in the fashion of the fifteenth century ; but when Leonardo da Vinci undertook the sublime and moving representation of the Last Supper, we feel that * [Original appeared in 1838, in two instalments, headed " The Critic," No. I. and No. II. in the first of the seven volumes of The Monthly Chronicle, published by the Messrs. Longman,] ON ART IN FICTION. 319 his object is not that of an antiquary ; and we do not re- gard it as a blemish that the Apostles are seated upright instead of being recumbent, and that the loaves of bread are those of an Italian baker. Perhaps, indeed, the picture affected the spectators the more sensibly from their familiarity "with the details ; and the effect of art on the whole was only heightened by a departure from correctness in minutiae. So, in an anatomical drawing that professed to give the exact proportions of man ; we might censure the designer if the length of the limbs were dispropor- tioned to the size of the trunk : but when the sculptor of the Apollo Belvedere desired to convey to the human eye the ideal of the God of Youth, the length of the limbs contributed to give an additional and superhuman lightness and elasticity to the form ; and the excellence of the art was evinced and promoted by the sacrifice of mechanical accuracy in detail. It follows, therefore, that Intellectual Art and Technical Correctness are far from identical ; that one is sometimes proved by the disdain of the other. And, as this makes the distinction between mechanical and in- tellectual art, so is the distinction remarkable in proportion as that intellectual art is exercised in the highest degree- ; in proportion as it realises the Ideal. For the Ideal con- sists not in the imitation, but the exaltation, of Nature ; and we must accordingly inquire, not how far it resembles what we have seen so much as how far it embodies what we can imagine. It is not till we have had great pictures, that we can lay down the rules of painting ; — it is not till we have had great writers in a particular department of intellect, that we can sketch forth a code of laws for those who succeed them : For the theory of art resembles that of science ; we must have data to proceed upon, and our inductions must be drawn from a vast store of experiments. Prose fictions have been cultivated by modern writers of such eminence, and now form so wide and essential a part of the popular literature of Europe, that it may not be an uninteresting or an useless task to examine the laws by which the past may be tested, and the labours of future students simplified and abridged. 320 ON ART IN FICTION. PROSE FICTIONS. The novelist has three departments for his art — Manners, Passions, Character. Manners. The delineation of manners embraces both past and present ; the Modern and Historical Romance. The Historical. We have a right to demand from the writer who pro- fesses to illustrate a former age a perfect acquaintance with its characteristics and spirit. At the same time, as he intends rather to interest than instruct ns, his art will be evinced in the illustrations he selects, and the skill with which they are managed. He will avoid all antiquarian dissertations not essentially necessary to the conduct of his tale. If, for instance, his story should have no connection with the mysteries of the middle ages, he will take care how he weary us with an episodical description that anges his character from that of a narrator into that of a lecturer. In the tale of " Notre Dame de Paris," by Victor Hugo, the description of the Cathedral of Notre Dame is not only apposite, bnt of the deepest interest ; for the cathedral is, by a high effort of art, made an abso- lute portion of the machinery of the tale. But the long superfluous description of the spectacle with which the story opens is merely a parade of antiquarian learning, because the Scholars and the Mysteries have no propor- tionate bearing whatever in the future development of the tale. The usual fault of the historical novelist is over minute- ness in descriptions of dress and feasts, of pageants and processions. Minuteness is not accuracy. On the con- trary, the more the novelist is minute, the more likely he is to mar the accurate effect of the whole, either by wearisome tameness or some individual error. An over antiquated phraseology is a common and a most inartistical defect : whatever diction the delineator of a distant age employs can never be faithful to the language of the time, for, if so, it would be unintelligible. So, in OX ART IN FICTION. 321 the German novels that attempt a classical subject, there is the prevalent vice of a cold imitation of a classic epis- tolary style. It is the very attempt at resemblance that destroys the illusion, as it is by the servility of a copy that we are most powerfully reminded of the difference between the copy and the original. The language of a former time should be presented to us in the freest and most familiar paraphrase we can invent. Thus the mind is relieved at once from the task of forming perpetual com- parisons, and surrenders itself to the delusion the more easily, from the very candour with which the author makes demand on its credulity. In selecting a particular epoch, for illustration, an artistical author will consider well what is the principal obstacle in the mind of his audience to the reception of his story. For instance, if he selects a story of ancient Greece, the public will be predis- posed to anticipate a frigid pedantry of style, and delinea- tions of manners utterly different from those which are familiar to us now. The author will, therefore, agreeably surprise the reader, if he adopt a style as familiar and easy which a Greek would have used in common conversa- tion ; and show the classical spirit that pervades his diction, by the grace of the poetry, or the lightness of the wit, with which he can adorn his allusions and his dialogue. Thus, the very learning he must evince will only be but incidental and easy ornament. On the other hand, instead of selecting such, specimens and modifications of human nature as are most different from, and unfamiliar to the sympathies of modern times, he will rather prefer to appeal to the eternal sentiments of the heart, by showing how closely the men of one age resemble those of another. His hero, his lover, his epicure, his buffoon, his miser, his boaster, will be as close to the life as if they were drawn from the streets of London. The reader will be interested to see society different, yet men the same ; and the Man- ners will be relieved from the disadvantage of unfamiliarity by an entire sympathy with the humours they mark, or the passions on which they play. Again, if the author propose to carry his readers to the time of Richard I., or of Elizabeth, he will have to en- counter a universal repugnance from the thought of an imi- tation of " Ivanhoe " or " Kenil worth*" An author who was, Y 322 ON ART IN FICTION. nevertheless, resolved to select such a period for his narra- tive would, accordingly, if an artist of sufficient excellence, avoid, with care, touching upon any of the points which may suggest the recollection of Scott. He would deeply consider all the features of the time, and select those ne- glected by his predecessor ; — would carefully note all tha deficiencies of the author of " Kenilworth," and seize at once upon the ground which that versatile genius omitted to consecrate to himself. To take the same epoch ; the same characters, even the same narrative, as a distinguished predecessor, is perfectly allowable ; and if successful, a proof at once of originality and skill. But if you find the shadow of the previous work flinging itself over your own, — if you have not thoroughly escaped the influence of the first occupant of the soil — you will only invest your genius to unnecessary disadvantage, and build edifices, however graceful and laboured, upon the freehold of another. In novels devoted to the delineation of existing manners, the young author will be surprised to find, that exact and unexaggerated fidelity has never been the characteristic of the greatest novelists of their own time. There would be, indeed, something inane and trifling, or mean and vulgar, in Dutch copies of the modern still life. We do not observe any frivolity in Walter Scott, when he describes with elaborate care the set of the ruffle, the fashion of the cloak of Sir Walter Raleigh, nor when he catalogues all the minutiae of the chamber of Rowena. But to intro- duce your hero of " May Fair," with an exact portraiture of the colour of his coat or the length of his pantaloons, to item all the commodes and fauteuils of a Lady Caro- line or Frances, revolts our taste as an effeminate attention to trifles. In humbler life the same rule applies with equal strength. We are willing to know how Gurth was dressed or Esmeralda lodged, but we do not require the same minuteness in describing the smock frock of a la- bourer, or the garret of the girl who is now walking upon stilts for a penny. The greatest masters of the novel of modern life have usually availed themselves of Humour as the illustration of manners ; and have, with a deep and true, but perhaps unconscious, knowledge of art, pushed ON ART IN FICTION. 323 the humour almost to the verge of caricature. For as the Serious Ideal requires a certain exaggeration in the pro- portions of the Natural, so also does the Ludicrous. Thus Aristophanes, in painting the h amours of his time, resorts to the most poetical extravagance of machinery, and calls the clouds in aid of his ridicule of philosophy, or summons frogs and gods to unite in his satire on Euripides. The Don Quixote of Cervantes never lived, nor, despite the vulgar belief, ever could have lived, in Spain ; but the art of the portrait is in the admirable exaltation of the Humorous by means of the Exaggerated. With more qualification the same may be said of Parson Adams, of Sir Roger de Coverley, and even of the Vicar of Wake- field. Where the author has not adopted the Humorous as the best vehicle for the delineation of manners, he has some- times artfully removed the scene from the country that he seeks to delineate, so that he might place his portraitures at a certain, and the most advantageous, distance from the eye. Thus, Le Sage obtains his object, of a consummate and masterly picture of the manners of his own land, though he has taken Spain for the theatre of the adven- tures of Gil Bias ; and Swift has transferred all that his experience or his malice could narrate of the intrigues of courts, the chimeras of philosophy, the follies and vices of his nation and his time, to the regions of Lilliput and Laputa. It may be observed, that the delineation of manners is usually the secondary object of a novelist of high power. To a penetrating mind manners are subservient to the illustration of views of life or the consummation of original character. In a few years the mere portraiture of manners is obsolete. It is the knowledge of what is durable in human nature that alone preserves the work from decay. Lilly and Shakspeare alike painted the prevailing and courtly mannerism of their age. The Euphues rests upon ourselves — Don Arinado will delight us as long as pedantry exists. y2 324 ON ART IN FICTION. Character. An author once said, " Give me a character, and I will find the play ; " and, if we look to the most jDopular novels we shall usually find, that where one reader speaks of the conduct of the story, a hundred readers will speak of the excellence of some particular character. An author, before resolving on the characters he designs to portray, will do well to consider maturely, first, what part they are designed to play in his performance ; and, secondly, what is the precise degree of interest which he desires them to create. Having thus considered and duly determined, he will take care that no other character in the work shall interfere with the effect each is intended to produce. Thus, if his heroine is to be drawn gentle and mild, no second heroine, with the same attributes, should distract the attention of the reader, a rule which may seem obvious but which is usually overlooked. When the author feels that he has thoroughly succeeded in a prin- cipal and predominant character, he will even sacrifice others, nominally more important, to increase the interest of the figure in the foreground. Thus, in the tale of " Ivanhoe," Rowena, professedly the heroine, is very pro- perly sacrificed to Rebecca. The more interesting the character of Rowena, the more pathetic the position she had assumed, the more we should have lost our compassion and admiration of the Jewess, and the highest merit of the tale, its pathos, would have been diminished. The same remark will apply to the Clementina and Harriet Byron of Richardson. The author. will take care not to crowd his canvas. He will select as few characters as are compatible with the full agency of his design. Too many plants in a narrow compass destroy each other. He will be careful to indivi- dualise each ; but if aspiring to the highest order of art, he will yet tone down their colours by an infinite variety of shades. The most original colours are those most delicately drawn, where the individual peculiarity does not obtrude itself naked and unrelieved. It was a very cheap purchase of laughter in Sir Walter Scott, and a mere trick of farce, which Shakspeare and Cervantes would have disdained, to invest a favourite humorist with some OX ART IN FICTION. 323 cant phrase, which he cannot open his mouth without dis- gorging. The "Prodigious" of Dominie Sampson, the 11 My Father the Baillie," of Nichol Jarvie, the " Provant " of Major Dalgettie, the "Dejeuner at Tillietudlem," of Lady Margaret Bellenden, &c, all belong to one source of humour, and that the shallowest and most hackneyed. If your tale spread over a considerable space of time, you will take care that your readers may note the change of character which time has necessarily produced. You will quietly show the difference between the boy of eighteen and the man of forty; you will connect the change in the character with the influence of the events you have narrated. In the novel of " Anastasius," this article of composition is skilfully and delicately mastered, more so than in " Gil Bias." If you bend all your faculties to the development of some single character, and you make us sensible that such is your object, the conduct of your story becomes but a minor consideration. Shakspeare probably cared but little whether the fencing scene in " Hamlet " was the best catas- trophe he could invent ; he took the incidents of the story as he found them, and lavished his genius on the workings of the mind, to which all external incidents on this side the grave had become trivial and uninfluential — weary, unprofitable, stale. It must rest entirely on the nature of the interest you desire it to effect, whether you seek clearly to place before us, or dimly to shadow out, each particular character. If you connect your hero with supernatural agency, if you introduce agents not accounted for by purely human means, if you resort to the Legendary and Mysterious, for the interest you identify with any individual character, it may be most artistical to leave such a character vague, shadow}-, and half-incompleted. Thus, very skilfully is the Master of Ravenswood, over whose head hang ominous and weird predictions, left a less distinct and palpable creation, than the broad-shouldered and much- eating heroes whom Scott usually conducts through a labyrinth of adventures to marriage with a wealthy Ariadne. The formation of characters, improbable and grotesque, is not very compatible with a high conception of art, unless 826 ON ART m FICTION. tlie work be one that so avowedly deals with beings dif- ferent from those we mix with, that onr imagination is prepared as to the extent of the demand upon its faith. Thus, when Shakspeare introduces us at once to the En- chanted Island, and we see the wand of the magician, and hear the song of Ariel, we are fully prepared to consider Caliban a proper inhabitant of such a soil ; or when the " Faust " opens with the chorus of angels, and the black dog appears in the chamber of the solitary student, the imagi- nation finds little difficulty in yielding assent to the vagaries of the witches, and the grotesque diablerie of the Hartz Mountains ; but we are wholly unprepared to find a human Caliban in the bell-ringer of a Parisian cathedral ; and we see no reason why Quasimodo should not have been as well shaped as other people. The use of the gro- tesque in " The Abbot," where Sir Percy Shafto is killed and revived, is an absurdity which is as gross as can well be conceived. In the portraiture of evil and criminal characters lies the widest scope for an author profoundly versed in the philosophy of the human heart. In all countries, in all times, the delineation of crime has been consecrated to the highest order of poetry. For as the emotions of terror and pity are those which it falls to the province of the sublimest genius to arouse, so it is chiefly, though not solely, in the. machinations of guilt that may be found, the source of the one, and in the misfortunes, sometimes of the victim of the guilt, nay, sometimes of the guilty agent himself, that we arrive at the fountain of the softer passion. Thus, the murder of Duncan rouses our compas- sion, through our admission to all the guilty doubts and aspirations of Macbeth ; and our terror is of a far higher and more enthralling order, because it is reflected back upon us from the bared and struggling heart of the mur- derer, than it would have been if we had seen the physical death of the victim. It may be observed, indeed, that, in a fine tragedy, it is the preparation to the death that is to constitute the catastrophe, that usually most sensibly excites the interest of terror, and that the blow of the murderer and the fall of the victim is but a release to the suspense of fear, and changes the whole current of our emotions. But the grandest combination is when the OX ART IN FICTION. 327 artist unite one person the opposite passions of terror and pitj r — 1 we feel at once the horror of the crime, jet compassi for the criminal. Tims, in the most stirring of ai' 1 fche ancient dramas, the moment that we discover that : lipus has committed the crimes from which we mo avolt, homicide and incest, is the very moment in which, to the deepest terror of the crimes is united the most intense compassion for the criminal. So again before the final catastrophe of the mystic fate of Macbeth, when evil predictions are working to their close, and we feel that his hour is come, Shakspeare has paused, to draw from the dark bosom of the fated murderer those moving reflections, "My way of life," &c, which steal from us insensibly our hatred of his guilt, and awaken a new and softer interest in the approaching consummation of the usurper's doom. Again, in the modern play of " Virginius," when the scene opens and discovers the avenging father upon the body of the murdered Appius, it is in Virginius, at once criminal and childless, that are concentrated our pity and our terror. In the portraiture of crime, however dark, the artist will take care to throw some redeeming light. The veriest criminal has some touch, and remnant of human goodness, and it is according as this sympathy between the outcast and ourselves is indicated or insinuated, that the author profanes or masters the noblest mysteries of his art. Where the criminal be one so resolute and hardened, so inexorable and preterhuman, in his guilt, that he passes the bounds of flesh and blood inconsistencies and sympa- thies, a great artist will bring forth intellectual quali- ties to balance our disgust at the moral. Thus, in "Richard III.," it is with a masterly skill that Shakspeare relieves us from the revolting contemplation of unmingied crime, by enlisting our involuntary and unconscious admi- ration on the side of the address, the subtle penetration into character, the affluent wit, the daring energy, the royal will, with which the ruthless usurper moves through the bloody scenes of his treachery. And at the last, it is, if not by a relic of human virtue, at least by a relic of huma?i weakness, by the working conscience, and the haunted pillow, that we are taught to remember that it is a man who sins and suffers, not a beast that ravages and 328 ON ART IN FICTION. is slain. Still, despite all the subtle shadings in the character of Richard, we feel that the guilt is overdrawn — ■ that the dark spirit wants a moral as well as intellectual relief. To penetrating critics, it has always, therefore, been the most coarse of all the creations of Shak- speare, and will never bear a comparison, as a dissection of human nature, with the goaded and writhing wickedness of Macbeth. In the delineation of a criminal, the author will take car.e to show us the motives of the crimes — the influences beneath which the character has been formed. He will suit the nature of the criminal to the state of society in which he is cast. Thus he will have occasions for the noblest morality. By concentrating in one focus the vicious influences of any peculiar error in the social system, he will hold up a mirror to nations them- selves. As the bad man will not be painted as thoroughly and unredeemably bad, so he whom you represent as good, will have his foibles or infirmities. You will show where even the mainspring of his virtues sometimes calls into play a counter vice. Your just man will be some- times severe ; your generous man will be sometimes care- less of the consequences of generosity. It is true that, in both these applications of art, you will be censured by shallow critics and pernicious moralists. It will be said of you in the one case, " He seeks to interest us in a murderer, or a robber, an adulterer, or a parricide ; " it will be said of you in the other, " And this man whom he holds up to us as an example, whom he calls wise and good, is a rascal who indulges such an error, or commits such an excess." But no man can be an artist who does not prefer experience and human nature to all criticism, and for the rest he must be contented to stand on the same ground, or to have filled his urn from the same foun- tains, as Shakspeare and Boccaccio, as Goethe and Schiller, Fielding and Le Sage. If it be, however, neces- sary to your design to paint some character as almost faultless, as exempt from our common infirmities and errors, you w T ill act skilfully if you invest it with the attributes of old age. When all the experience of error has been dearly bought, when the passions are laid at 02s ART IN FICTIOK rest, and the mind burns clear as tlic night deepens, virtue docs in fact become less and less wavering and imperfect. Bur youth without a fault would be youth without a passion : and such a portrait would make n ir of emulation, and arm against reverence and esteem all the jealousies of self-love. The Passioss. Delineation of passions is inseparable from the delinea- tion of character. A novel admirable in character, may, indeed, be drawn, in which the passions are but coldly and feebly shadowed forth. " Gil Bias " is an example. Bat either such novels are intended as representations of external life, not of the metaphysical operations of the inner man, or they deal with the humours and follies, not the grave and deep emotions, of our kind, and belong to the Comedy of Romance. But if a novel of character can be excellent without passion, it would be impossible to create a novel of pas- sion without character. The elementary passions them- selves, like the elements, are few : it is the modifications they take in passing through different bodies that give us so inexhaustible a variety of lights and shadows of loveli- ness and glory. The passion of Love is not represented by a series of eloquent rhapsodies, or even of graceful sentiments. It is represented in fiction by its effects on some particular character; the same with Jealousy, Avarice, Revenge, &c. Therefore, in a certain sense of the word, all representa- tions of passion in fiction may be considered typical. In Juliet it is not the picture of love solely and ab- stractedly, it is the picture of love in its fullest effect on youth. In Antony it is love as wild, and as frantic, and as self-sacrificing ; but it is love, not emanating froni the enthusiasm of youth, but already touched with something of the blindness and infirmity of dotage. In Macbeth it is not the mere passion of ambition that is portrayed, it is ambition operating on a man physically daring, and morally irresolute ; a man whom the darkest agencies alone can compel, and whom the fullest triumphs of success cannot reconcile to crime. So, if we review all 330 OX ART IN FICTION. the passionate characters of Shakspeare, we shall find that the passion is individualised and made original by the mould in which the fiery liquid is cast. Nor is the lan- guage of that passion declamation upon the passion itself, but the revelation of the effect it produces on a single subject. It is accordingly in the perfect harmony that exists between the character and the passion, that the abstract and bodiless idea finds human force and cor- poreal interest. If you would place the passion before us in a new light, the character that represents it must be original. An artistical author, taking advantage of the multiform inconsistencies of human nature, will often give to the most hackneyed passion a thoroughly new form, by placing it in a character where it could least be looked for. For instance, should you desire to portray avarice, you will go but on worn-out ground, if you resort to Plautus and Moliere for your model. But if you find in history the record of a brilliant courtier, a successful general, marked and signalised by the vice of Harpagon, the vice itself takes a new hue, and your portraiture will be a new addition to our knowledge of the mysteries of our kind. Such a representation, startling, untouched, and truthful, might be taken from the character of the Duke of Marl- borough, the hero of Blenheim. In portraying the effect of a passion, the rarest art of the novelist is to give it its due weight, and no more. Thus, in love novels we usually find nothing but love ; as if in the busy and complicated life of man, there were no other spring to desire and action but " Love, love eternal love." Again, if an author portrays a miser, he never draws him otherwise than as a miser. He makes him, not the avaricious miser, but abstract avarice itself. Not so Shakspeare when he created Shylock. Other things, other motives occupy the spirit of the Jew besides his gold and his argosies ; he is a grasping and relentless miser, yet he can give up avarice to revenge. He has sublime pas- sions that elevate his mean ones. If your novel be devoted to love and its effects, you will act more consistently with the truths of life, if you throw the main interest of the passion in the heroine. In the ON ART IN FICTION. 3 SI hero you will increase our sense of the power of the pas- sion, if you show us all the conflicting passions with which in men it usually contends — ambition, or honour, or duty : the more the effect of love is shown by the obstacles it silently subdues, the more triumphant will be your success. You will recollect that in the novel, as in the drama, it is in the struggle of emotions that the science of the heart is best displayed ; and in the delineation of such struggles, there is ground little occupied hitherto by the great masters of English fiction. It was not in the province of Fielding or Smollett, and Scott but rarely indulges, and still more rarely succeeds, in the metaphysical operations of stormy and conflicting feelings. He rather seems to have made it a point of art to imitate the ancient painter, and throw a veil over passions he felt inadequate to ex- press. Thus, after the death and burial of Lucy, it is only by the heavy and unequal tread of Eavenswood, in his solitary chamber, that his agonies are to be conjectured. But this avoidance of the internal man, if constant and systematic, is but a clever trick to hide the want of power. The Sentiment. The Sentiment that pervades a book is often its most effective moral, and its most nniversal charm. It is a per- vading and indescribable harmony in which the heart of the author seems silently to address our own. Through creations of crime and vice, there may be one pervading sentiment of virtue ; through the humblest scenes, a senti- ment of power and glory. It is the sentiment of Words- worth of which his disciples speak, when they enlarge upon attributes of holiness and beauty, which detached pas- sages, however exquisite, do not suffice to justify. Of all the qnalities of fiction, the sentiment is that which we can least subject to the inquiries or codes of criticism. It emanates from the moral and predominant quality of the author — the perfume from his genius : and by it he un- consciously reveals himself. The sentiment of Shakspeare is in the strong sympathies with all that is human. In the sentiment of Swift, we see the reflection of a spirit dis- contented and malignant. Mackenzie, Goldsmith, Voltaire, Rousseau, betray their several characters as much in the 33 2 ON ART IN FICTION. prevalent sentiments of their writings as if tli<; had made themselves the heroes. Of all writers of great genius, Shakspeare has the most sentiment, and, perhaps, Smollett and Defoe the least. The student will distinguish between a work of sentiment and a sentimental work. As the charm of sentiment in a fiction is that it is latent and in- definite, so the charm vanishes directly it becomes ob- truding and importunate. The mistake of Kotzebue, and many of the Germans, of Metastasio and a feeble and ephemeral school of the Italians, was in the confounding sentiment with, passion. Sentiment is capable of many classifications and sub- divisions. The first and finest is that touched upon — the sentiment of the whole work : a sentiment of beauty or of grandeur— of patriotism or of benevolence — of veneration of justice, or of piety. This may be perfectly distinct from the character or scenes portrayed : it evinces itself insensibly and invisibly : and we do not find its effect till we sum up all the effects that the work has bequeathed. The sentiment is, therefore, often incorporated and iden- tified with the moral tendency of the fiction. There is also a sentiment that belongs to style, and gives depth and colouring to peculiar passages. For instance, in painting a pastoral life in the heart of lonely forests, or by the side of unpolluted streams, the language and thoughts of the author glide into harmony with the images he creates ; and we feel that he has, we scarcely know by what art, penetrated himself and us with the Sentiment of Repose. A sentiment of this nature will be felt at once by the lovers of Spenser, and of Ariosto and Tasso. In the en- trance to the domains of Death, Milton breathes over the whole description the Sentiment of Awe. The Sentiments are distinct from the Passions : some- times they are most eloquent in the utter absence of pas- sion itself ; as the sentiment that pervades the poem of " The Castle of Indolence ; " — at other times they are the neighbours, the intervening shades, between one passion and another; as the Sentiment of a Pleasing Melancholy. Regret and Awe are sentiments ; Grief and Sorrow, passions. As there is a sentiment that belongs to description, so ON AllT IN FICTION. 333 there are characters in which sentiment supplies the place of passion. The character of Jacques, in " As You Like It," is purely one of sentiment. Usually sentiment is, in character, most effective when united with humour, as in Uncle Toby and Don Quixote, and, to quote a living writer, some of the masterly creations of Paul de Kock. For the very delicacy of the sentiment will be most appa- rent by the contrast of what seems to us at first the oppo- site quality, as the violet we neglect in the flower-bed, enchants us in the hollow of a rock. In the subsequent part of this paper it is proposed to enter upon the construction of the fiction itself — the dis- tinctions between the Drama and the Novel — and the mechanism, conduct, and catastrophe of the different species of Invented Narrative. The Conception. A story may be well constructed, yet devoid of interest ; on the other hand, the construction may be faulty and the interest vivid. This is the case even with the drama. "Hamlet " is not so well constructed a story as the "Don Carlos " of Alfieri ; but there is no comparison in the degree of interest excited in either tragedy. Still, though we ought not to consider that excellence in the technical arrangement of incidents as a certain proof of the highest order of art, it is a merit capable of the most brilliant effects when possessed by a master. An exquisite mechanism in the construction of the mere story, not only gives pleasure in itself, but it displays other and loftier beauties to the best advantage. It is the setting of the jewels. It is common to many novelists to commence a work without any distinct chart of the country which they intend to traverse — to suffer one chapter to grow out of another, and invention to warm as the creation grows. Scott * has confessed to this mode of novel writing ; but Scott, with all his genius, was rather a great mechanist * See Mr. Lockhart's Life of Scott, vol. v. p. 232 : " In writing I never could lay down a plan/' &c. Scott, however, has the candour to add, "I would not have young writers imitate my carelessness." 334 OJST art m FICTION. than a great artist. His execution was infinitely superior to his conception. It may be observed, indeed, that his conceptions are often singularly poor and barren, compared with the vigour with which they are marked out. He conceives a story with the design of telling it as well as he can, but is wholly insensible to the high and true aim of art, which is rather to consider for what objects the story should be told. Scott never appears to say to himself, " Such a tale will throw a new light upon human passions, or add fresh stores to human wisdom : for that reason I select it. He seems rather to consider what picturesque effects it will produce, what striking scenes, what illustra- tions of mere manners. He regards the story with the eye of the property man, though he tells it with the fervour of the poet. It is not thus that the greatest authorities in fiction have composed. It is clear to us that Shakspeare, when he selected the tale which he proposed to render Xpwa « del — the everlasting possession of mankind, made it his first and paramount object to work out certain passions or affections of the mind, in the most complete and pro- found form. He did not so much consider how the in- cidents might be made most striking, as how the truths of the human heart might be made most clear. And it is a remarkable proof of his consummate art, that though in his best plays we may find instances in which the mere incidents might be made more probable, and the theatrical effects more vivid. We can never see one instance in such plays where the passion he desired to represent could have been placed in a broader light, or the character he designed to investigate could have been submitted to a minuter analysis. Weare quite sure that " Othello " and "Macbeth" were not written without the clear and deep and pre- meditative conception of the story to be told us. For with Shakspeare the conception itself is visible and gigantic from the first line to the last. So in the greatest works of Fielding a very obtuse critic may perceive that the author sat down to write in order to embody a design previously formed. The perception of moral truths urged him to the composition of his fictions. In Jonathan Wild, the finest prose satire in the English language, Fielding, before he set pen to paper, had resolved to tear the mask from False Greatness. In his conception of the characters and his- OX ART IN FICTION. 335 tories of Blifil and Jones, he was bent on dethroning that popular idol — False Virtue. The scorn of hypocrisy in all grades, all places, was the intellectual passion of Fielding; and his masterpieces are the results of intense convictions. That many incidents never contemplated would suggest themselves as he proceeded — that the technical plan of events might deviate and vary according as he saw new modes of enforcing his aims, is unquestionable. But still Fielding always commenced with a plan, with a conception — with a moral end, to be achieved by definite agencies, and through the medium of certain characters preformed in his mind. If Scott had no preconcerted story when he commenced chapter the first of one of his delightful tales, it was because he was 'deficient in the highest attributes of art, viz., its philosophy and its ethics. He never seems to have imagined that the loftiest merit of a tale rests upon the effect it produces, not on the fancy, but on the intellect and the passions. He had no grandeur of conception, for he had no strong desire to render palpable and immortal some definite and abstract truth. It is a sign of the low state of criticism in this country, that Scott has been compared to Shakspeare. ISTo two writers can be more entirely opposed to each other in the qualities of their genius, or the sources to which they were applied. Shakspeare, ever aiming at the develop- ment of the secret man, and half disdaining the mechanism of external incidents. Scott, painting the ruffles and the dress and the features and the gestures — avoiding the movements of the heart — elaborate in the progress of the incident. Scott never caught the mantle of Shakspeare, but he improved on the dresses of his wardrobe, and threw artificial effects into the scenes of his theatres. Let us take an example : we will select one of the finest passages in Sir Walter Scott, a passage unsurpassed for its mastery over the Picturesque. It is that chapter in " Kenilworth 5 ' where Elizabeth has discovered Amy, and formed her first suspicions of Leicester. " Leicester was at this moment the centre of a splendid group of lords and ladies assembled together under a portico which closed the alley. The company had drawn together in that place to attend the commands ©f her Majesty when the hunting party should go forward, and 336 ON ART IN FICTION. their astonishment niay be imagined, when^ instead of seeing Elizabeth, advance towards them with her usual measured dignity of motion, they beheld her walking so rapidly, that she was in the midst of them ere they were aware, and then observed, with fear and surprise, that her features were flushed betwixt anger and agitation, that her hair was loosened by her haste of motion, and that her eyes sparkled as they were wont when the spirit of Henry VIII. mounted highest in his daughter. Nor were they less astonished at the appearance of the pale, attenuated, half- dead, yet still lovely female, whom the queen upheld by main strength with one hand, while with the other she waived aside the ladies and nobles who pressed towards her, under the idea that she was taken suddenly ill. ' Where is my Lord of Leicester ? ' she said, in a tone that thrilled with astonishment all the courtiers who stood around. i Stand forth, my Lord of Leicester ! ' "If in the midst of the most serene day of summer, when all is light and laughing around, a thunder-bolt were to fall from the clear blue vault of heaven, and rend the earth at the very feet of some careless traveller, he could not gaze upon the smouldering chasm which so unex- pectedly yawned before him, with half the astonishment and fear which Leicester felt at the sight which so unex- pectedly presented itself. He had that instant been receiving, with a political affectation of disavowing and misunderstanding their meaning, the half-uttered, half- intimated congratulations of the courtiers upon the favour of the queen, carried apparently to its highest pitch during the interview of that morning ; from which most of them seemed to augur, that he might soon arise from their equal in rank to become their master. And now, while the subdued yet proud smile with which he disclaimed those inferences was yet curling his cheek, the queen shot into the circle, her passions excited to the uttermost, and sup- porting with one hand, and apparently without an effort, the pale and sinking form of his almost expiring wife, and pointing with the other to her half- dead features, demanded, in a voice that sounded to the ears of the astounded statesman, like the last dread trumpet-call that is to sum- mon body and spirit to the Judgment-seat, ' Knowest thou this woman ? ' " ON ART IN FICTION. 337 The reader will observe tbat the whole of this splendid passage is devoted to external effects : the loosened hair and sparkling eyes of Elizabeth — the grouping of * the courtiers — the proud smile yet on the cheek of Leicester — the pale and sinking form of the wife. Only by external effects do we guess at the emotions of the agents. Scott is thinking of the costume and postures of the actors, not the passions they represent. Let us take a parallel pas- sage in Shakspeare, parallel, for in each a mind disturbed with jealousy is the real object placed before the reader. It is thus that Iago describes Othello after the latter has conceived his first suspicions. "Look where lie comes ! Not poppy nor mandragora, Nor all the drowsy syrups of the world, Shall ever medicine thee to that sweet sleep "Which thou oV dst yesterday. Othello. Ha ! ha ! false to me ?" Here the reader will observe that there is no attempt at the Picturesque — no sketch of the outward man. It is only by a reference to the woe that kills sleep that we can form any notion of the haggard aspect of the Moor. So, if we compare the ensuing dialogue in the romance with that in the tragedy, we shall remark that Elizabeth utters only bursts of shallow passion, which convey none of the deep effects of the philosophy of jealousy, none of the senti- ments that " inform us what we are." But every sentence uttered by Othello penetrates to the very root of the pas- sion described : the farewell to fame and pomp, which comes from a heart that, finding falsehood in the prop it leaned on, sees the world itself a*nd all its quality and circumstance, crumbled away ; the burst of vehement in- credulity ; the sudden return to doubt ; the intense revenge proportioned to the intense love ; the human weakness that must seek faith somewhere, and, with the loss of Desdemona, casts itself upon her denouncer ; the mighty knowledge of the heart exhibited in those simple words to Iago, " I greet thy love ! " — compare all this with the mere words of Elizabeth, which have no force in themselves, but are made effective by the picturesque grouping of the scene, you will detect at once the astonishing difference between Shakspeare and Scott. Shakspeare could have composed 338 ON ART IN FICTION. the most wonderful plays from the stories in Scott ; Scott could have written the most excellent stage directions to Mie plays of Shakspeare. If the novelist be contented with the secondary order of Art in Fiction, and satisfied if his incidents be varied, animating, and striking, he may write from chapter to chapter and grope his way to a catastrophe in the dark ; but if he aim at loftier and more permanent effects, he will remember that to execute grandly we must conceive nobly. He will suffer the subject he selects to lie long in his mind, to be revolved, meditated, brooded over until from the chaos breaks the light, and he sees distinctly the highest end for which his materials can be used, and the best process by which they can be reduced to harmony and order. If, for instance, he found his tale upon some legend, the author, inspired with a great ambition, will consider what will be, not the most vivid interest, but the loftiest and most durable order of interest, he can extract from the incidents. Sometimes it will be in a great truth elicited by the catastrophe, sometimes by the delineation of one or more characters, sometimes by the mastery over, and de- velopment of, some complicated passion. Having decided what it is he designs to work out, he will mould his story accordingly ; but before he begins to execute he will have clearly informed his mind of the conception that induces the work itself. Interest. No fiction can be first-rate if it fail to create Interest. But the merit of the fiction is not by any means pro- portioned to the degree of excitement it produces, but to the quality of the excitement. It is certainly some merit to make us weep ; but the great artist will consider from what sources our tears are to be drawn. We may weep as much at the sufferings of a beggar as at the agonies of Lear ; but from what sublime sympathies arise our tears for the last ! What commonplace pity will produce the first ! We may have our interest much more acutely excited by the " Castle of Udolpho " than by " Anastasius," but in the one, it is a melodramatic arrangement of hair-breadth escapes and a technical skill in the arrangement of other ON ART IN FICTION. 339 mysteries — in the other it is the consummate knowledge of actual life that fascinates the eye to the page. It is necessary, then, that every novel should excite interest ; but one novel may produce a much more gradual, gentle, and subdued interest than another, and yet have infinitely more merit in the quality of the interest it excites. Terror and Horror. True art never disgusts. If in descriptions intended to harrow us, we feel sickened and revolted by the very power with which the description is drawn, the author has passed the boundary of his province, he does not appal — he shocks. Thus nothing is more easy than to produce a feeling of intense pain by a portrait of great bodily suffer- ing. The vulgarest mind can do this, and the mistaken populace of readers will cry, " See the power of this author." But all sympathy with bodily torture is drawn from our basest infirmities, all sympathy with mental torture from our deepest passions and our most spiritual nature. Horror is generally produced by the one, Terror by the other. If you describe a man hanging by a break- ing bough over a precipice — if you paint his starting eye- balls, his erect hair, the death-sweat on his brow, the cracking of the bough, the depth of the abyss, the sharp- ness of the rock, the roar of the cataract below, you may make us dizzy and sick with sympathy ; but you operate on the physical nerves, and our sensation is that of coarse and revolting pain. But take a moral abyss, CEdipus, for instance, on the brink of learning the awful secret which proclaims him an incestuous parricide. Show the splen- dour of his power, the depth of his wisdom, the loftiness of his pride, and then gradually, step by step, reveal the precipice on which he stands — and you work not on the body but the mind, you produce the true tragic emotion — terror. Even in this you must stop short of all that could make terror revolt while it thrills us. This Sophocles has done by one of those fine perceptions of nature which open the sublimest mysteries of art ; we are not allowed time to suffer our thoughts to dwell upon the incest and self-assault of CEdipus or upon the suicide of Jocasta, before, by the introduction of the children, terror melts into z 2 310 ON AHT IN FICTION. pity, and the parricide son, assumes the new aspect of the broken-hearted father. A modern French writer, if he had taken the subject, would have disgusted us by details of the incest itself, or forced us from the riven heart to gaze upon the bloody and eyeless sockets of the blind king ; and the more he disgusted us, the more he would have thought he excelled the tragedian of Colonos. Such of the Germans, on the contrary, who follow the school of Schiller, will often stop as far short of the true boundaries of Terror as the French romanticists would go beyond it. Schiller held it a principle of art never to leave the com- plete and entire effects of a work of art, one of pain. According to him the pleasure of the art should exceed the sympathy with the suffering. He sought to vindicate this principle by a reference to the Greek drama, but in this he confounded the sentiments with which we moderns read the works of ^Eschylus and Sophocles, with the sentiments with which a Greek would have read them. No doubt, to a Greek religiously impressed with the truth and reality of the woes or the terror depicted, the " Agamemnon," of iEschylus, the CEdipus Tyrnanns of Sophocles, and the Medea of Euripides, would have left a far more unqualified and overpowering sentiment of awe and painful sympathy, than we now can entertain for victims, whom we believe to be shadows, to duties and destinies that we know to be chimeras. Were Schiller's rule universally adopted, we should condemn Othello and Lear. Terror may then be carried up to its full extent, pro- vided that it work upon us through the mind, not the body, and stop short of the reaction of recoil and disgust. Description. One of the greatest and most peculiar arts of the novelist is description. It is in this that he has a manifest advantage over the dramatic poet. The latter will rarely describe scenery, costumes, personals, for they ought to be placed before the eyes of the audience by the theatre and the actors. "When he does do so, it is generally understood by an intelligent critic to be an episode introduced for the sake of some poetical beauty which, without absolutely caiTying on the plot, increases ON ART IN FICTION. oil the agreeable and artistieal effect of the whole perform- ance. This is the case with the description of Dover Cliff in " Lear," or with that of the chasm which adorns by so splendid a passage the monstrous tragedy of " The Cenci." In the classical French theatre, as in the Greek, description, it is true, becomes an essential part of the play itself , since the catastrophe is thrown into description. Hence the celebrated picture of the death of Hippolvte in the " Phedre " of Racine — of the suicide of Hgemon in the " Antigone" of Sophocles. But it maybe doubted whether both Sophocles and his French imitator did not, in this transfer of action to words, strike at the very core of dramatic art, whether ancient or modern, for it may be remarked — and we are surprised that it has not been remarked before — that ^Eschylus preferred placing the tragedy before the eyes of the reader, and he who remembers the sublime close of the Prometheus, the storm, the lightning, the bolt, the shivered rock, and the mingled groans and threats of the Titan himself, must acknowledge that the effect is infinitely more purely tragical than it would have been if we had been told how it all happened by the Aggelos or Messenger. So in the " Agamemnon " of the same sublime poet, though we do not see the blow given, the scene itself, opening, places before us the murderess and the corpse. ISTo messenger intervenes, — no description is required for the action. " I stand where I struck him," says Clytem- nestra. " The deed is done ! " * But without recurring farther to the Drama of other nations, we may admit at once that, in our own, it is the received and approved rule that Action, as much as possible, should dispense with Description. With Nar- rative Fiction it is otherwise ; the novel writer is his own scene painter; description is as essential to him as canvas is to the actor, — description of the most various character. In this art none ever equalled Scott. In the com- parison we made between him and Shakspeare, we meant not to censure the former for indulging in what * Even Sophocles in one of his finest tragedies lias not scrupled to suffer the audience to witness the last moments of Ajax. 342 ON ART IN FICTION. the latter stunned; each did that which his art required. We only lament that Scott did not combine with external description an equal, or, at least, not very inferior, skill in metaphysical analysis. Had he done so, he would have achieved all of which the novelist is capable. In the description of natural scenery the author will devote the greatest care to such landscapes as are meant for the localities of his principal events. There is nothing, for instance, very attractive in the general features of a common ; but if the author lead us through a common, on which, in a later portion of his work, a deed of a murder is to be done, he will strive to fix deeply in our remembrance the character of the landscape, the stunted tree, or the mantling pool, which he means to associate in our minds with an act of terror. If the duration of time in a fiction be limited to a year, the author may be enabled artfully to show us the progress of time by minute descriptions of the gradual change in the seasons. This is attempted to be done in the tale of " Eugene Aram ; " instead of tell- ing us when it is July and when it is October, the author of that fiction describes the signs and characteristics of the month, and seeks to identify our interest in the natural phenomena with the approaching fate of the hero, himself an observer and an artist of the " clouds that pass to and fro," and the " herbs that wither and are renewed." Again, in description, if there be any natural objects that will bear upon the catastrophe — if, for instance, the earthquake or the inundation be in- tended as an agent in the fate of those whose history the narrative relates, incidental descriptions of the state of the soil, frequent references to the river or the sea, will serve to make the elements themselves minister to the interest of the plot, and the final catastrophe will be made at once more familiar, yet more sublime, if we have been prepared and led to believe that you have from the first designed to invoke to your aid the awful agencies of Nature herself. Thus in the CEdipus at Colonos, the Poet at the very opening of the tragedy indulges in the celebrated description of the seats of the Dread Goddesses, because the place, and the deities themselves though invisible, belong yet more insensibly ON ART IN FICTION. 843 to the crowning doom of the wanderer than any of the characters introduced. The description of feelings is also the property of the novelist. The dramatist throws the feelings into dialogue — the novelist goes at once to the human heart, and calmly scrutinises, assorts, and dissects them. Few indeed are the writers who have hitherto attempted this — the master mystery of the hierophant. Godwin has done so the most elaborately, Goethe the most skilfully. The first writer is indeed so minute, that he is often frivolous, — so lengthened, that he is generally tedious ; but the culti- vator of the art, and not the art itself, is to be blamed for such defects. A few words will often paint the precise state of emo- tion as faithfully as the most voluminous essay ; and in this department condensation and brevity are to be care- fully studied. Conduct us to the cavern, light the torch, and startle and awe us by what you reveal ; but if you keep us all day in the cavern, the effect is lost, and our only feeling is that of impatience and desire to get away. Arrangement of Incidents. Distinctions between the Novel and the Drama. In the arrangement of incidents the reader will carefully study the distinctions between the novel and the drama, — distinctions the more important because they are not at the first glance very perceptible. In the first place the incidents of a play must grow pro- gressively out of each other. Each scene should appear the necessary consequence of the one that precedes it. This is far from being the case with the novel : in the last it is often desirable to go back instead of forward, — to wind, to vary, to shift the interest from person to person — to keep even your principal hero, your principal actor, in the background. In the novel you see more of Frank Osbaldistone than you do of Rob Roy; but bring Rob Roy on the stage, and Frank Osbaldistone must recede at once into a fifth-rate personage. In our closets we should be fatigued with the incessant rush of events that we desire when we make one of a multi- 84i ON ART IN FICTION. tude. Oratory and the drama in this resemble each other — that the things best to hear are not always the best to read. In the novel we address ourselves to the one person, — on the stage we address ourselves to a crowd; more rapid effects, broader and more popular sentiments, more condensed grasp of the universal passions, are required for the last. The calm advice which persuades our friend would only tire out the patience of the crowd. The man who writes a play for Covent Garden ought to remember that the Theatre is but a few paces distant from the Hustings : success at either place, the Hustings or the Theatre, wili depend upon a mastery over feelings not per- haps the most common-place, but the most commonly felt. If with his strong effects on the stage, the dramatic poet can, like Shakspeare, unite the most delicate and subtle refinement, like Shakspeare, he will be a consummate artist. But the refinement will not do without the effects. In the novel it is different : the most enchanting and per- manent kind of interest, in the latter, is often gentle, tran- quillising, and subdued. The novelist can appeal to those delicate and subtle emotions, whicii are easily awakened when we are alone, but which are torpid and unfelt in the electric contagion of popular sympathies. The most refin- ing among us will cease to refine when placed in the midst of a multitude. There is a great distinction between the plot of a novel and that of a play — a distinction which has been indicated by Goethe in the " Wilhelm Meister." The novel allows accident, the drama never. In the former your principal character may be throwm from his horse, and break his neck ; in the latter this would be a gross burlesque on the laws of the drama ; for in the drama the incidents must bring about the catastrophe ; in the novel there is no such necessity. Don Quixote at the last falls ill and dies in his bed ; but in order that he should fall ill and die in his bed, there was no necessity that he should fight windmills, or mistake an inn for a castle. If a novelist had taken for his theme the conspiracy of Fiesco, he might have ad- hered to history with the most perfect consistency to his art. In the history, as Fiesco, after realising his ambitious projects, is about to step into the ship, he slips from the plank ? and the weight of his armour drowns him. Tin's ON ART IN FICTION. 345 is accident, and tins catastrophe would not only have been admissible in the novel, but would have conveyed, perhaps, a sublimer moral than any that fiction could invent. But when Schiller adapted Fiesco for the stage, he felt that accident was not admissible,* and his Fiesco falls by the hand of the patriot Verrina. The whole dialogue preced- ing the fatal blow is one of the most masterly adaptations of moral truth to the necessity of historical infidelity in European literature. In the " Bride of Lammermoor " Ravenswood is swal- lowed up by a quicksand. This catastrophe is singularly grand in romance ; it could not be allowable on the stage ; for this again is accident and not result. The distinctions, then, between the novel and the drama, so far as the management of incidents is concerned, are principally these : that in the one the interest must always progress — that in the other it must often go back and often halt ; that dealing with human nature in a much larger scale in the novel, you will often introduce events and incidents, not necessarily growing one out of the other, though all conducing to the completeness of the whole ; that in the drama you have more impatience to guard against — you are addressing men in numbers, not the individual man ; your effects must be more rapid and more startling : that in the novel you may artistically have recourse to accident for the "working out of your design, in the drama never. The ordinary faults of a play by the novelist, f and of a * " The nature of the Drama," observes Schiller in his preface to Fiesco, and in excuse for his corruption of history, " does not admit the hand of Chance." f " Why is it that a successful novelist has never been a successful play writer ? " This is a question that has been so often put that we have been frightened out of considering whether the premises involved in the question are true or not. It is something like the schoolboy question, "Why is a pound of feathers heavier than a pound of had ?" It is long before Tom or Jack ask — is it heavier ? Is it true that a successful novelist never has been a successful play writer? We will not insist on Goldsmith, whose comedy of "She Stoops to Conquer" and whose novel of the "Vicar of Wake- field " are alike among the greatest ornaments of our language. But was not Goethe a great play- writer and a great novelist ? Who will decide whether the palm in genius should be given to the " Tasso " or the " Wil- helm Meister" of that all-sided genius ? Is not the " Ghost Seer" a success- ful novel? Does it not afford the highest and most certain testimony of what Schiller could have done as a writer of narrative Ecti n, and are not 346 ON ART IN FICTION. novel by the play writer, will serve as an illustration of the principles which have insensibly regulated each. The nove- list will be too diffuse, too narrative, and too refined in his effects for the stage ; the play writer will be too condensed, abrupt, and above all, too exaggerated, for our notions of the Natural when we are in the closet. Stage effect is a vice in the novel; but how can we expect a man trained to write for the stage to avoid what on the stage is a merit ? A certain exaggeration of sentiment is natural, and neces- sary for sublime and truthful effect, when we address numbers ; it would be ludicrous uttered to our friend in his easy-chair. If Demosthenes, urging a young Athenian to conduct himself properly, had thundered out * that sub- lime appeal to the shades of Marathon, Platea and Salamis, which thrilled the popular assembly, the young Athenian would have laughed in his face. If the dialogue of "Macbeth" were the dialogue of a romance on the same subject it would be equally good in itself, but it would seem detestable bombast. If the dialogue in Ivanhoe, which is matchless of its kind for fire and spirit, were shaped into blank verse, and cut up into a five act play, it would be bald and pointless. As the difference between the effective oration and the eloquent essay — between Pitt so great to hear, and Burke so great to read, so is the difference be- "Wallenstein" and "Fiesco" and "Don Carlos" great plays by the same author ? Are not " Canclide " and " Zadig " imperishable masterpieces in the art of the novelist ? Are not " Zaire " and " Mahomet " equally immortal ? The three greatest geniuses, that in modem times the continent has pro- duced, were both novelists and dramatists — equally great in each depart- ment. In France at this day Victor Hugo, who, with all his faults, is im- measurably the first writer in the school he has sought to found, is both the best novelist and the most powerful dramatist. That it has not happened oftener that the same man has achieved equal honour in the novel and the play is another question. But we might just as well ask why it has not happened oftener that the same man has been equally successful in tragedy and epic — in the ode and the didactic — why he who is sublime as a poet is often tame as a prose writer, and vice versa — why the same artist who painted the "Transfiguration" did not paint the " Last Day." Nature, circumstance, and education have not fitted many men to be great except in one line. And least of all are they commonly great in two lines, which, though seemingly close to each other, run in parallel directions. The more subtle the distinction between the novel and the play, the more likely are they to be overlooked by him who attempts both. It is the same with all departments of art : the closer the approximation of the boundaries, the more difficult the blending. * Dem. de Cour. ON ART IX FICTION. 347 twcon the writing for the eye of one man, and the writing for the ears of three thousand. Mechanism and Conduct. The Mechanism and Conduct of the story ought to de- pond upon the nature of the preconceived design. Do you desire to work out some definite end, through the passions or through the characters you employ ? Do you desire to carry on the interest less through, character and passion than through incident ? Or, do you rather desire to enter- tain and instruct by a general and wide knowledge of living manners or human nature ? Or, lastly, would you seek to incorporate all these objects ? Are you faithful to your conception, will you be attentive to, and precise in the machinery you use ? In other words, your progress must depend upon the order of interest you mean to be predominant. It is by not considering this rule that critics have often called that episodical or extraneous, which is, in fact, a part of the design. Thus, in " Gil Bias," the object is to convey to the reader a complete picture of the surface of society : the manners, foibles, and peculiarities of the time ; elevated by a general, though not very pro- found, knowledge of the more durable and universal elements of human nature in the abstract. Hence the numerous tales and nouvelletes scattered throughout the work, though episodical to the adventures of Gil Bias, are not episodical to the design of Le Sage. They all serve to complete and furnish out the conception, and the whole would be less rich, and consummate in its effect without them. They are not passages which lead to nothing, but conduce to many purposes we can never comprehend, unless we consider well for what end the building was planned. So, if you wish to bring out all the peculiarities of a certain character, you will often seem to digress into adventures which have no palpable bearing on the external plot of incident and catastrophe. This is constantly the case with Cervantes and Fielding; and the critic who blames you for it, is committing the gross blunder of judging the novel by the laws of the drama. But as an ordinary rule, it may be observed that, since both in the novel and the play human life is represented by 318 ON ART IN FICTION. an epitome, so in both it is desirable that all your charac- ters should more or less be brought to bear on the con- clusions you have in view. It is not necessary in the novel that they should bear on the physical events ; they may sometimes bear on the mental and interior changes in the minds and characters of the persons you introduce. For instance, if you design in the life of your hero to illustrate the Passion of jealousy upon a peculiar confor- mation of mind, you may introduce several characters and several incidents, which will serve to ripen his tendencies, but have not the least bearing on the actual cata- strophe in which those tendencies are confirmed into deeds. This is but fidelity to real life, in which it seldom happens that they who foster the passion are the witnesses or suf- ferers of the effects. This distinction between interior and external agencies will be made apparent by a close study of the admirable novel of "Zeluco." In the mechanism of external incidents, Scott is the greatest model that fiction possesses ; and if we select from his works that in which this mechanism is most artistical, we instance not one of his most brilliant and popular, but one in which he combined all the advantages of his multiform and matured experience in the craft : we mean the " Fair Maid of Perth." By noting well the manner in which, in this tale, the scene is ever varied at the right moment, and the exact medium preserved be- tween abruptness and longueur — how all the incidents are complicated, so as to appear inextricable, yet the solution obtained by the simplest and shortest process, the reader will learn more of the art of mechanical construction, than by all the rules that Aristotle himself, were he living, could lay down. Divisions of the Work. In the drama the Divisions of the plot in Acts are of in- finite service in condensing and simplifying the design of the author. The novelist will find it convenient to himself to establish analogous divisions in the conduct of his story. The division into volumes is but the affair of the printer, and affords little help to the intellectual purposes of the author, Hence most of our greatest novelists have had ON ART IN FICTION. 319 recourse to the more definite sab-partition of the work into Boohs; audit the student use this mode of division, not from capricious or arbitrary pleasure, but with the same purposes of art for which, in the drama, recourse is had to the division into Acts, he will find it of the greatest ser- vice. Properly speaking, each Book should be complete in itself, working out the exact and whole purpose that the author meditates in that portion of his work. It is clear, therefore, that the number of his Books will vary accord- ing to the nature of his design. Where you have shaped your story after a dramatic fashion you will often be sur- prised to find how greatly you serve to keep your con- struction faithful to your design, by the mere arrangement of the work into the same number of sub- divisions as are adopted in the drama, viz., five books instead of five acts. Where, on the other hand, you avoid the dramatic construction, and lead the reader through great varieties of life and action, meaning in each portion of the history of your hero to illustrate separate views of society or human nature, you will probably find a much greater number of sub-divisions requisite. This must depend upon your design. Another advantage in these divisions consists in the rules that your own common sense will suggest to you with respect to the introduction of charac- ters. It is seldom advisable to admit any new Characters of importance after the interest has arrived at a certain point of maturity. As you would not introduce a new character of consequence to the catastrophe, in the fifth act of a play, so with more qualification and reserve it will be inartistical to make a similar introduction in the cor- responding portion of a novel. The most illustrious ex- ception to this general rule is in " Clarissa," in which the Avenger, the brother of the heroine, and the executioner of Lovelace, only appears at the close of the story, and for the single purpose of revenge ; and here the effect is heightened by the lateness and suddenness of the intro- duction of the very person to whom the catastrophe is confided. 350 OK AET IN FICTION. The Catastrophe. The distinction between the novel and the drama is usually very visible in the Catastrophe. The stage effect of bringing up all the characters together in the closing chapter, to be married or stabbed, as the thing may require, is to a fine taste eminently displeasing in a novel. It in- troduces into the very place where we most desire verisimi- litude, a clap-trap and theatrical effect. For it must be always remembered, that in prose fiction we require more of the Real than we do in the drama (which belongs of right to the regions of pure poetry), and if the very last effect bequeathed to us be that of palpable delusion and trick, the charm of the whole work is greatly impaired. Some of Scott's romances may be justly charged with this defect. Usually the author is so far aware of the inartist-like effect of a final grouping of all the characters before the fall of the curtain, that he brings but few of the agents he has employed to be present at the catastrophe, and follows what may be called the wind-up of the main interest by one or more epilogical chapters, in which we are told how Sir Thomas married and settled in his country seat, how Miss Lucy died an old maid, and how the miser Grub was found dead on his money- chest ; disposing, in a few sen- tences, of the lives and deaths of all to whom we have been presented — a custom that we think might now give place to less hacknied inventions. The drama will bear but one catastrophe ; the novel will admit of more. Thus, in "Ivanhoe," the more vehement and apparent catastrophe is the death of Bois Gruilbert ; but the marriage of Ivanhoe, the visit of Rebecca to Rowena, and the solemn and touching farewell of the Jewess, constitute, properly speaking, a catastrophe, no less capital in itself, and no less essential to the completion of the incidents. So also there is often a moral cata- strophe, as well as a physical one, sometimes identified each with the other, sometimes distinct. If you have been desirous to work out some conception of a principle or a truth, the design may not be completed till after the more violent effects which form the physical catastrophe. In ON ART IN FICTION. 351 the recent novel of " Alice, or the Mysteries," the external catastrophe is in the vengeance of Csesarini and the death of Vargravc, but the complete denouement aud com- pletion of the more typical meanings, and ethical results of the fiction, are reserved to the* moment when Maltravers recognises the Natural to be the true Ideal, and is brought, by faith and beauty of simple goodness, to affection and respect for mankind itself. In the drama it would be necessary to incorporate in one scene all the crowning results of the preceding events. We could not bear a new interest after the death of Bois Guilbert ; and a new act of mere dialogue between Alice and Maltravers, after the death of Yargrave would be insufferably tame and frigid. The perfection of a catastrope is not so much in the power with which it is told, as in the feeling of completeness which it should leave on the mind. On closing the work we ought to feel that we have read a whole — that there is a harmonious unity in all its parts — that its close, whether it be pleasiug or painful, is that which is essentially appro- priate to all that has gone before : and not only the mere isolated thoughts in the work, but the unity of the work itself, ought to leave its single and deep impression on the mind. The book itself should be a thought. There is another distinction between the catastrophe of a novel and that of a play. In the last it ought to be the most per- manent and striking events that lead to the catastrophe, in the former it will often be highly artistical to revive for the consummating effect many slight details — incidents the author had but dimly shadowed out — mysteries that you had judged till then, he had forgotten to clear up, and to bring a thousand rivulets, that had seemed merely intro- duced to relieve or adorn the way into the rapid gulf which closes over all. The effect of this has a charm not derived from mere trick, but from its fidelity to the natural and life-like order of events. What more common in the actual world than that the great crises of our fate are influenced and coloured, not so much by the incidents and persons we have deemed most important, but by many things of remote date, or of seeming insignificance. The feather the eagle carelessly sheds by the wayside plumes the shaft that transfixes him. In this management and combination of incidents towards the grand end, knowledge 352 ON ART IN FICTION. of Human Nature can alone lead the student to the know- ledge of Ideal Art. These remarks form the summary of the hints and sug- gestion that, after a careful study of books, we submit to the consideration of the student in a class of literature now so widely cultivated and hitherto almost wholly un- examined by the critic. We presume not to say that they form an entire code of laws for the art. Even Aristotle's immortal treatise on Poetry, were it bequeathed to us com- plete, would still be but a skeleton ; and though no poet could read that treatise without advantage, the most glorious poetry might be, and has been written in defiance of nearly all its laws. Genius will arrive at fame by the light of its own star ; but Criticism, will often serve as a sign-post to save many an unnecessary winding, and in- dicate many a short way. He who aspires to excel in that fiction which is the glass of truth may learn much from books and rules, from the lecturer and the critic ; but he must be also the Imaginer, the Observer. He will be ever examining human life in its most catholic and comprehen- sive aspects. Nor is it enough to observe, — it is necessary to feel. We must let the heart be a student as well as the head. No man w r ho is a passionless and cold spectator, will ever be an accurate analyst, of all the motives and springs of action. Perhaps if we were to search for the true secret of Creative Genius, we should find that secret in the intenscness of its Sympathies. THE EHD. f£y PPADBFRV, AGNEW, & CO., P7UNTKF.S, WITI rF.FRI/RS, Deacidified using the Bookkeeper process. Neutralizing agent: Magnesium Oxide Treatment Date: April 2009 PreservationTechnologies A WORLD LEADER IN COLLECTIONS PRESERVATION 111 Thomson Park Drive Cranberry Township, PA 1 6066 (724)779-2111