Calamities and Quarrels of Authors. Disraeli IsaacЧитать онлайн книгу.
I love. It seems to me impossible for a man who has no friends to do anything for fame—and to me the first position in friendship is, to intend one’s friends should survive one—but it is not reasonable to oppress you, who are suffering gout, with my melancholy ideas. What I have said will tell you, what I hope so many years have told you, that I am very constant and sincere to friends of above forty years.”
In a letter of a later date there is a remarkable confession, which harmonises with those already given.
“My pursuits have always been light, trifling, and tended to nothing but my casual amusement. I will not say, without a little vain ambition of showing some parts, but never with industry sufficient to make me apply to anything solid. My studies, if they could be called so, and my productions, were alike desultory. In my latter age I discovered the futility both of my objects and writings—I felt how insignificant is the reputation of an author of mediocrity; and that, being no genius, I only added one name more to a list of writers; but had told the world nothing but what it 49 could as well be without. These reflections were the best proofs of my sense; and when I could see through my own vanity, there is less wonder in my discovering that such talents as I might have had are impaired at seventy-two.”
Thus humbled was Horace Walpole to himself!—there is an intellectual dignity, which this man of wit and sense was incapable of reaching—and it seems a retribution that the scorner of true greatness should at length feel the poisoned chalice return to his own lips. He who had contemned the eminent men of former times, and quarrelled with and ridiculed every contemporary genius; who had affected to laugh at the literary fame he could not obtain—at length came to scorn himself! and endured “the penal fires” of an author’s hell, in undervaluing his own works, the productions of a long life!
The chagrin and disappointment of such an author were never less carelessly concealed than in the following extraordinary letter:—
HORACE WALPOLE TO————
“Arlington Street, April 27, 1773.
“Mr. Gough wants to be introduced to me! Indeed! I would see him, as he has been midwife to Masters; but he is so dull that he would only be troublesome—and besides, you know I shun authors, and would never have been one myself, if it obliged me to keep such bad company. They are always in earnest, and think their profession serious, and dwell upon trifles, and reverence learning. I laugh at all these things, and write only to laugh at them and divert myself. None of us are authors of any consequence, and it is the most ridiculous of all vanities to be vain of being mediocre. A page in a great author humbles me to the dust, and the conversation of those that are not superior to myself reminds me of what will be thought of myself. I blush to flatter them, or to be flattered by them; and should dread letters being published some time or other, in which they would relate our interviews, and we should appear like those puny conceited witlings in Shenstone’s and Hughes’s correspondence, who give themselves airs from being in possession of the soil of Parnassus for the time being; as peers are proud because they enjoy the estates of great men who went before them. Mr. Gough is very welcome to see Strawberry-hill, 50 or I would help him to any scraps in my possession that would assist his publications, though he is one of those industrious who are only re-burying the dead—but I cannot be acquainted with him; it is contrary to my system and my humour; and besides I know nothing of barrows and Danish entrenchments, and Saxon barbarisms and Phœnician characters—in short, I know nothing of those ages that knew nothing—then how should I be of use to modern literati? All the Scotch metaphysicians have sent me their works. I did not read one of them, because I do not understand what is not understood by those that write about it; and I did not get acquainted with one of the writers. I should like to be intimate with Mr. Anstey, even though he wrote Lord Buckhorse, or with the author of the Heroic Epistle—I have no thirst to know the rest of my contemporaries, from the absurd bombast of Dr. Johnson down to the silly Dr. Goldsmith, though the latter changeling has had bright gleams of parts, and the former had sense, till he changed it for words, and sold it for a pension. Don’t think me scornful. Recollect that I have seen Pope, and lived with Gray.—Adieu!”
Such a letter seems not to have been written by a literary man—it is the babble of a thoughtless wit and a man of the world. But it is worthy of him whose contracted heart could never open to patronage or friendship. From such we might expect the unfeeling observation in the “Anecdotes of Painting,” that “want of patronage is the apology for want of genius. Milton and La Fontaine did not write in the bask of court favour. A poet or a painter may want an equipage or a villa, by wanting protection; they can always afford to buy ink and paper, colours and pencil. Mr. Hogarth has received no honours, but universal admiration.” Patronage, indeed, cannot convert dull men into men of genius, but it may preserve men of genius from becoming dull men. It might have afforded Dryden that studious leisure which he ever wanted, and which would have given us not imperfect tragedies, and uncorrected poems, but the regulated flights of a noble genius. It might have animated Gainsborough to have created an English school in landscape, which I have heard from those who knew him was his favourite yet neglected pursuit. But Walpole could insult that genius, which he wanted the generosity to protect!
The whole spirit of this man was penury. Enjoying an 51 affluent income he only appeared to patronise the arts which amused his tastes—employing the meanest artists, at reduced prices, to ornament his own works, an economy which he bitterly reprehends in others who were compelled to practise it. He gratified his avarice at the expense of his vanity; the strongest passion must prevail. It was the simplicity of childhood in Chatterton to imagine Horace Walpole could be a patron—but it is melancholy to record that a slight protection might have saved such a youth. Gray abandoned this man of birth and rank in the midst of their journey through Europe; Mason broke with him; even his humble correspondent Cole, this “friend of forty years,” was often sent away in dudgeon; and he quarrelled with all the authors and artists he had ever been acquainted with. The Gothic castle at Strawberry-hill was rarely graced with living genius—there the greatest was Horace Walpole himself; but he had been too long waiting to see realised a magical vision of his hopes, which resembled the prophetic fiction of his own romance, that “the owner should grow too large for his house.” After many years, having discovered that he still retained his mediocrity, he could never pardon the presence of that preternatural being whom the world considered a GREAT MAN.—Such was the feeling which dictated the close of the above letter; Johnson and Goldsmith were to be “scorned,” since Pope and Gray were no more within the reach of his envy and his fear.
INFLUENCE OF A BAD TEMPER IN CRITICISM.
Unfriendly to the literary character, some have imputed the brutality of certain authors to their literary habits, when it may be more truly said that they derived their literature from their brutality. The spirit was envenomed before it entered into the fierceness of literary controversy, and the insanity was in the evil temper of the man before he roused our notice by his ravings. Ritson, the late antiquary of poetry (not to call him poetical), amazed the world by his vituperative railing at two authors of the finest taste in poetry, Warton and Percy; he carried criticism, as the discerning few had first surmised, to insanity itself; the character before us only approached it.
Dennis attained to the ambiguous honour of being distinguished 52 as “The Critic,” and he may yet instruct us how the moral influences the literary character, and how a certain talent that can never mature itself into genius, like the pale fruit that hangs in the shade, ripens only into sourness.
As a critic in his own day, party for some time kept him alive; the art of criticism was a novelty at that period of our literature. He flattered some great men, and he abused three of the greatest; this was one mode of securing popularity; because, by this contrivance, he divided the town into two parties; and the irascibility and satire of Pope and Swift were not less serviceable to him than the partial panegyrics of Dryden and Congreve. Johnson revived him, for his minute attack on Addison; and Kippis, feebly voluminous, and with the cold affectation of candour, allows him to occupy a place in our literary history too large in the eye of