Critical and Historical Essays - Volume 2 by Thomas Babington Macaulay (fun to read .txt) 📕

of noble and distinguished individuals, with whom it is clear, from every page of his work, that he must have been constantly mingling in society." These are but tame and feeble imitations of the paragraphs with which the daily papers are filled whenever an attorney's clerk or an apothecary's assistant undertakes to tell the public in bad English and worse French, how people tie their neckcloths and eat their dinners in Grosvenor Square. The editors of the higher and more respectable newspapers usually prefix the words "Advertisement," or "From a Correspondent," to such paragraphs. But this makes little difference. The panegyric is extracted, and the significant heading omitted. The fulsome eulogy makes its appearance on the covers of all the Reviews and Magazines, with Times or Globe affixed, though the editors of the Times and the Globe have no more to do with it than with Mr. Goss's way of making old rakes young again.

That people who live by personal slander should practise these arts is not surprising. Those who stoop to write calumnious books may well stoop to puff them; and that the basest of all trades should be carried on in the basest of all manners is quite proper and as it should be. But how any man who has the least self- respect, the least regard for his own personal dignity, can condescend to persecute the public with this Ragfair importunity, we do not understand. Extreme poverty may, indeed, in some degree, be an excuse for employing these shifts, as it may be an excuse for stealing a leg of mutton. But we really think that a man of spirit and delicacy would quite as soon satisfy his wants in the one way as in the other.

It is no excuse for an author that the praises of journalists are procured by the money or influence of his publishers, and not by his own. It is his business to take such precautions as may prevent others from doing what must degrade him. It is for his honour as a gentleman, and, if he is really a man of talents, it will eventually be for his honour and interest as a writer, that his works should come before the public recommended by their own merits alone, and should be discussed with perfect freedom. If his objects be really such as he may own without shame, he will find that they will, in the long-run, be better attained by suffering the voice of criticism to be fairly heard. At present, we too often see a writer attempting to obtain literary fame as Shakspeare's usurper obtains sovereignty. The publisher plays Buckingham to the author's Richard. Some few creatures of the conspiracy are dexterously disposed here and there in the crowd. It is the business of these hirelings to throw up their caps, and clap their hands, and utter their vivas. The rabble at first stare and wonder, and at last join in shouting for shouting's sake; and thus a crown is placed on a head which has no right to it, by the huzzas of a few servile dependants.

The opinion of the great body of the reading public is very materially influenced even by the unsupported assertions of those who assume a right to criticise. Nor is the public altogether to blame on this account. Most even of those who have really a great enjoyment in reading are in the same state, with respect to a book, in which a man who has never given particular attention to the art of painting is with respect to a picture. Every man who has the least sensibility or imagination derives a certain pleasure from pictures. Yet a man of the highest and finest intellect might, unless he had formed his taste by contemplating the best pictures, be easily persuaded by a knot of connoisseurs that the worst daub in Somerset House was a miracle of art. If he deserves to be laughed at, it is not for his ignorance of pictures, but for his ignorance of men. He knows that there is a delicacy of taste in painting which he does not possess, that he cannot distinguish hands, as practised judges distinguish them, that he is not familiar with the finest models, that he has never looked at them with close attention, and that, when the general effect of a piece has pleased him or displeased him, he has never troubled himself to ascertain why. When, therefore, people, whom he thinks more competent to judge than himself, and of whose sincerity he entertains no doubt, assure him that a particular work is exquisitely beautiful, he takes it for granted that they must be in the right. He returns to the examination, resolved to find or imagine beauties; and, if he can work himself up into something like admiration, he exults in his own proficiency.

Just such is the manner in which nine readers out of ten judge of a book. They are ashamed to dislike what men who speak as having authority declare to be good. At present, however contemptible a poem or a novel may be, there is not the least difficulty in procuring favourable notices of it from all sorts of publications, daily, weekly, and monthly. In the meantime, little or nothing is said on the other side. The author and the publisher are interested in crying up the book. Nobody has any very strong interest in crying it down. Those who are best fitted to guide the public opinion think it beneath them to expose mere nonsense, and comfort themselves by reflecting that such popularity cannot last. This contemptuous lenity has been carried too far. It is perfectly true that reputations which have been forced into an unnatural bloom fade almost as soon as they have expanded; nor have we any apprehensions that puffing will ever raise any scribbler to the rank of a classic. It is indeed amusing to turn over some late volumes of periodical works, and to see how many immortal productions have, within a few months, been gathered to the poems of Blackmore and the novels of Mrs. Behn; how many "profound views of human nature," and "exquisite delineations of fashionable manners," and "vernal, and sunny, and refreshing thoughts," and "high imaginings," and "young breathings," and "embodyings," and "pinings," and "minglings with the beauty of the universe," and "harmonies which dissolve the soul in a passionate sense of loveliness and divinity," the world has contrived to forget. The names of the books and of the writers are buried in as deep an oblivion as the name of the builder of Stonehenge. Some of the well-puffed fashionable novels of eighteen hundred and twenty-nine hold the pastry of eighteen hundred and thirty; and others, which are now extolled in language almost too high-flown for the merits of Don Quixote, will, we have no doubt, line the trunks of eighteen hundred and thirty-one. But, though we have no apprehensions that puffing will ever confer permanent reputation on the undeserving, we still think its influence most pernicious. Men of real merit will, if they persevere, at last reach the station to which they are entitled, and intruders will be ejected with contempt and derision. But it is no small evil that the avenues to fame should be blocked up by a swarm of noisy, pushing, elbowing pretenders, who, though they will not ultimately be able to make good their own entrance, hinder, in the mean time, those who have a right to enter. All who will not disgrace themselves by joining in the unseemly scuffle must expect to be at first hustled and shouldered back. Some men of talents, accordingly, turn away in dejection from pursuits in which success appears to bear no proportion to desert. Others employ in self-defence the means by which competitors, far inferior to themselves, appear for a time to obtain a decided advantage. There are few who have sufficient confidence in their own powers and sufficient elevation of mind, to wait with secure and contemptuous patience, while dunce after dunce presses before them. Those who will not stoop to the baseness of the modern fashion are too often discouraged. Those who do stoop to it are always degraded.

We have of late observed with great pleasure some symptoms which lead us to hope that respectable literary men of all parties are beginning to be impatient of this insufferable nuisance. And we purpose to do what in us lies for the abating of it. We do not think that we can more usefully assist in this good work than by showing our honest countrymen what that sort of poetry is which puffing can drive through eleven editions, and how easily any bellman might, if a bellman would stoop to the necessary degree of meanness, become a "master-spirit of the age." We have no enmity to Mr. Robert Montgomery. We know nothing whatever about him, except what we have learned from his books, and from the portrait prefixed to one of them, in which he appears to be doing his very best to look like a man of genius and sensibility, though with less success than his strenuous exertions deserve. We select him, because his works have received more enthusiastic praise, and have deserved more unmixed contempt, than any which, as far as our knowledge extends, have appeared within the last three or four years. His writing bears the same relation to poetry which a Turkey carpet bears to a picture. There are colours in the Turkey carpet out of which a picture might be made. There are words In Mr. Montgomery's writing which, when disposed in certain orders and combinations, have made, and will again make, good poetry. But, as they now stand, they seem to be put together on principle in such a manner as to give no image of anything "in the heavens above, or in the earth beneath, or in the waters under the earth."

The poem on the Omnipresence of the Deity commences with a description of the creation, in which we can find only one thought which has the least pretension to ingenuity, and that one thought is stolen from Dryden, and marred in the stealing:

"Last, softly beautiful, as music's close, Angelic woman into being rose."

The all-pervading influence of the Supreme Being is then described in a few tolerable lines borrowed from Pope, and a great many intolerable lines of Mr. Robert Montgomery's own. The following may stand as a specimen:

"But who could trace Thine unrestricted course, Though Fancy followed with immortal force? There's not a blossom fondled by the breeze, There's not a fruit that beautifies the trees, There's not a particle in sea or air, But nature owns thy plastic influence there! With fearful gaze, still be it mine to see How all is fill'd and vivified by Thee; Upon thy mirror, earth's majestic view, To paint Thy Presence, and to feel it too."

The last two lines contain an excellent specimen of Mr. Robert Montgomery's Turkey carpet style of writing. The majestic view of earth is the mirror of God's presence; and on this mirror Mr. Robert Montgomery paints God's presence. The use of a mirror, we submit, is not to be painted upon.

A few more lines, as bad as those which we have quoted, bring us to one of the most amusing instances of literary pilfering which we remember. It might be of use to plagiarists to know, as a general rule, that what they steal is, to employ a phrase common in advertisements, of no use to any but the right owner. We never fell in, however, with any plunderer who so little understood how to turn his booty to good account as Mr. Montgomery. Lord Byron, in a passage which everybody knows by heart, has said, addressing the sea,

"Time writes no wrinkle on thine azure