A History of English Literature by George Saintsbury (e novels for free .txt) 📕

The characteristics of style in these two works are by no means the same; but between them they represent fairly enough the characteristics of all Bacon's English prose. It might indeed be desirable in studying it to add to them the Henry the Seventh, which is a model of clear historical narration, not exactly picturesque, but never dull; and though not exactly erudite, yet by no means wanting in erudition, and exhibiting conclusions which, after two centuries and a half of record-grubbing, have not been seriously impugned or greatly altered by any modern historian. In this book, which was written late, Bacon had, of course, the advantage of his long previous training in the actual politics of a school not very greatly altered since the time he was describing, but this does not diminish the credit due to him for formal excellence.

The Essays—which Bacon issued for the first time, to the number of ten, in 1597, when he was, comparatively speaking, a young man, which he reissued largely augmented in 1612, and yet again just before his death, in their final and fullest condition—are not so much in the modern sense essays as collections of thoughts more or less connected. We have, indeed, the genesis of them in the very interesting commonplace book called the Promus [butler or storekeeper] of Elegancies, the publication of which, as a whole, was for some reason or other not undertaken by Mr. Spedding, and is due to Mrs. Henry Pott. Here we have the quaint, but never merely quaint, analogies, the apt quotations, the singular flashes of reflection and illustration, which characterise Bacon, in their most unformed and new-born condition. In the Essays they are worked together, but still sententiously, and evidently with no attempt at sustained and fluent connection of style. That Montaigne must have had some influence on Bacon is, of course, certain; though few things can be more unlike than the curt severity of the scheme of the English essays and the interminable diffuseness of the French. Yet here and there are passages in Montaigne which might almost be the work of a French Bacon, and in Bacon passages which might easily be the work of an English Montaigne. In both there is the same odd mixture of dignity and familiarity—the familiarity predominating in Montaigne, the dignity in Bacon—and in both there is the union of a rich fancy and a profound interest in ethical questions, with a curious absence of passion and enthusiasm—a touch, as it may almost be called, of Philistinism, which in Bacon's case contrasts most strangely with his frequently gorgeous language, and the evident richness of his imagination, or at least his fancy.

The scheme and manner of these essays naturally induced a sententious and almost undeveloped manner of writing. An extraordinary number of separate phrases and sentences, which have become the common property of all who use the language, and are probably most often used without any clear idea of their author, may be disinterred from them, as well as many striking images and pregnant thoughts, which have had less general currency. But the compression of them (which is often so great that they might be printed sentence by sentence like verses of the Bible) prevents the author from displaying his command of a consecutive, elaborated, and harmonised style. What command he had of that style may be found, without looking far, in the Henry the Seventh, in the Atlantis, and in various minor works, some originally written in Latin and translated, such as the magnificent passage which Dean Church has selected as describing the purpose and crown of the Baconian system. In such passages the purely oratorical faculty which he undoubtedly had (though like all the earlier oratory of England, with rare exceptions, its examples remain a mere tradition, and hardly even that) displays itself; and one cannot help regretting that, instead of going into the law, where he never attained to much technical excellence, and where his mere promotion was at first slow, and was no sooner quickened than it brought him into difficulties and dangers, he had not sought the safer and calmer haven of the Church, where he would have been more at leisure to "take all knowledge to be his province;" would have been less tempted to engage in the treacherous, and to him always but half-congenial, business of politics, and would have forestalled, and perhaps excelled, Jeremy Taylor as a sacred orator. If Bacon be Jeremy's inferior in exuberant gorgeousness, he is very much his superior in order and proportion, and quite his equal in sudden flashes of a quaint but illuminative rhetoric. For after all that has been said of Bacon and his philosophy, he was a rhetorician rather than a philosopher. Half the puzzlement which has arisen in the efforts to get something exact out of the stately periods and splendid promises of the Novum Organum and its companions has arisen from oversight of this eminently rhetorical character; and this character is the chief property of his style. It may seem presumptuous to extend the charges of want of depth which were formulated by good authorities in law and physics against Bacon in his own day, yet he is everywhere "not deep." He is stimulating beyond the recorded power of any other man except Socrates; he is inexhaustible in analogy and illustration, full of wise saws, and of instances as well ancient as modern. But he is by no means an accurate expositor, still less a powerful reasoner, and his style is exactly suited to his mental gifts; now luminously fluent, now pregnantly brief; here just obscure enough to kindle the reader's desire of penetrating the obscurity, there flashing with ornament which perhaps serves to conceal a flaw in the reasoning, but which certainly serves to allure and retain the attention of the student. All these characteristics are the characteristics rather of the great orator than of the great philosopher. His constant practice in every kind of literary composition, and in the meditative thought which constant literary composition perhaps sometimes tempts its practitioners to dispense with, enabled him to write on a vast variety of subjects, and in many different styles. But of these it will always be found that two were most familiar to him, the short sententious apothegm, parallel, or image, which suggests and stimulates even when it does not instruct, and the half-hortatory half-descriptive discours d'ouverture, where the writer is the unwearied panegyrist of promised lands not perhaps to be identified with great ease on any chart.[38]