ESSAY VIII. ON FAMILIAR STYLE

It is not easy to write a familiar style. Many people mistake a familiar for a vulgar style, and suppose that to write without affectation is to write at random. On the contrary, there is nothing that requires more precision, and, if I may so say, purity of expression, than the style I am speaking of. It utterly rejects not only all unmeaning pomp, but all low, cant phrases, and loose, unconnected, slipshod allusions. It is not to take the first word that offers, but the best word in common use; it is not to throw words together in any combinations we please, but to follow and avail ourselves of the true idiom of the language. To write a genuine familiar or truly English style is to write as any one would speak in common conversation who had a thorough command and choice of words, or who could discourse with ease, force, and perspicuity, setting aside all pedantic and oratorical flourishes. Or, to give another illustration, to write naturally is the same thing in regard to common conversation as to read naturally is in regard to common speech. It does not follow that it is an easy thing to give the true accent and inflection to the words you utter, because you do not attempt to rise above the level of ordinary life and colloquial speaking. You do not assume, indeed, the solemnity of the pulpit, or the tone of stage-declamation; neither are you at liberty to gabble on at a venture, without emphasis or discretion, or to resort to vulgar dialect or clownish pronunciation. You must steer a middle course. You are tied down to a given and appropriate articulation, which is determined by the habitual associations between sense and sound, and which you can only hit by entering into the author's meaning, as you must find the proper words and style to express yourself by fixing your thoughts on the subject you have to write about. Any one may mouth out a passage with a theatrical cadence, or get upon stilts to tell his thoughts; but to write or speak with propriety and simplicity is a more difficult task. Thus it is easy to affect a pompous style, to use a word twice as big as the thing you want to express: it is not so easy to pitch upon the very word that exactly fits it. Out of eight or ten words equally common, equally intelligible, with nearly equal pretensions, it is a matter of some nicety and discrimination to pick out the very one the preferableness of which is scarcely perceptible, but decisive. The reason why I object to Dr. Johnson's style is that there is no discrimination, no selection, no variety in it. He uses none but 'tall, opaque words,' taken from the 'first row of the rubric'—words with the greatest number of syllables, or Latin phrases with merely English terminations. If a fine style depended on this sort of arbitrary pretension, it would be fair to judge of an author's elegance by the measurement of his words and the substitution of foreign circumlocutions (with no precise associations) for the mother-tongue.(1) How simple is it to be dignified without case, to be pompous without meaning! Surely it is but a mechanical rule for avoiding what is low, to be always pedantic and affected. It is clear you cannot use a vulgar English word if you never use a common English word at all. A fine tact is shown in adhering to those which are perfectly common, and yet never falling into any expressions which are debased by disgusting circumstances, or which owe their signification and point to technical or professional allusions. A truly natural or familiar style can never be quaint or vulgar, for this reason, that it is of universal force and applicability, and that quaintness and vulgarity arise out of the immediate connection of certain words with coarse and disagreeable or with confined ideas. The last form what we understand by cant or slang phrases.—To give an example of what is not very clear in the general statement, I should say that the phrase To cut with a knife, or To cut a piece of wood, is perfectly free from vulgarity, because it is perfectly common; but to cut an acquaintance is not quite unexceptionable, because it is not perfectly common or intelligible, and has hardly yet escaped out of the limits of slang phraseology. I should hardly, therefore, use the word in this sense without putting it in italics as a license of expression, to be received cum grano salis. All provincial or bye-phrases come under the same mark of reprobation—all such as the writer transfers to the page from his fireside or a particular coterie, or that he invents for his own sole use and convenience. I conceive that words are like money, not the worse for being common, but that it is the stamp of custom alone that gives them circulation or value. I am fastidious in this respect, and would almost as soon coin the currency of the realm as counterfeit the King's English. I never invented or gave a new and unauthorised meaning to any word but one single one (the term impersonal applied to feelings), and that was in an abstruse metaphysical discussion to express a very difficult distinction. I have been (I know) loudly accused of revelling in vulgarisms and broken English. I cannot speak to that point; but so far I plead guilty to the determined use of acknowledged idioms and common elliptical expressions. I am not sure that the critics in question know the one from the other, that is, can distinguish any medium between formal pedantry and the most barbarous solecism. As an author I endeavour to employ plain words and popular modes of construction, as, were I a chapman and dealer, I should common weights and measures.

The proper force of words lies not in the words themselves, but in their application. A word may be a fine-sounding word, of an unusual length, and very imposing from its learning and novelty, and yet in the connection in which it is introduced may be quite pointless and irrelevant. It is not pomp or pretension, but the adaptation of the expression to the idea, that clenches a writer's meaning:—as it is not the size or glossiness of the materials, but their being fitted each to its place, that gives strength to the arch; or as the pegs and nails are as necessary to the support of the building as the larger timbers, and more so than the mere showy, unsubstantial ornaments. I hate anything that occupies more space than it is worth. I hate to see a load of bandboxes go along the street, and I hate to see a parcel of big words without anything in them. A person who does not deliberately dispose of all his thoughts alike in cumbrous draperies and flimsy disguises may strike out twenty varieties of familiar everyday language, each coming somewhat nearer to the feeling he wants to convey, and at last not hit upon that particular and only one which may be said to be identical with the exact impression in his mind. This would seem to show that Mr. Cobbett is hardly right in saying that the first word that occurs is always the best. It may be a very good one; and yet a better may present itself on reflection or from time to time. It should be suggested naturally, however, and spontaneously, from a fresh and lively conception of the subject. We seldom succeed by trying at improvement, or by merely substituting one word for another that we are not satisfied with, as we cannot recollect the name of a place or person by merely plaguing ourselves about it. We wander farther from the point by persisting in a wrong scent; but it starts up accidentally in the memory when we least expected it, by touching some link in the chain of previous association.

There are those who hoard up and make a cautious display of nothing but rich and rare phraseology—ancient medals, obscure coins, and Spanish pieces of eight. They are very curious to inspect, but I myself would neither offer nor take them in the course of exchange. A sprinkling of archaisms is not amiss, but a tissue of obsolete expressions is more fit for keep than wear. I do not say I would not use any phrase that had been brought into fashion before the middle or the end of the last century, but I should be shy of using any that had not been employed by any approved author during the whole of that time. Words, like clothes, get old-fashioned, or mean and ridiculous, when they have been for some time laid aside. Mr. Lamb is the only imitator of old English style I can read with pleasure; and he is so thoroughly imbued with the spirit of his authors that the idea of imitation is almost done away. There is an inward unction, a marrowy vein, both in the thought and feeling, an intuition, deep and lively, of his subject, that carries off any quaintness or awkwardness arising from an antiquated style and dress. The matter is completely his own, though the manner is assumed. Perhaps his ideas are altogether so marked and individual as to require their point and pungency to be neutralised by the affectation of a singular but traditional form of conveyance. Tricked out in the prevailing costume, they would probably seem more startling and out of the way. The old English authors, Burton, Fuller, Coryate, Sir Thomas Browne, are a kind of mediators between us and the more eccentric and whimsical modern, reconciling us to his peculiarities. I do not, however, know how far this is the case or not, till he condescends to write like one of us. I must confess that what I like best of his papers under the signature of Elia (still I do not presume, amidst such excellence, to decide what is most excellent) is the account of 'Mrs. Battle's Opinions on Whist,' which is also the most free from obsolete allusions and turns of expression—

To those acquainted with his admired prototypes, these Essays of the ingenious and highly gifted author have the same sort of charm and relish that Erasmus's Colloquies or a fine piece of modern Latin have to the classical scholar. Certainly, I do not know any borrowed pencil that has more power or felicity of execution than the one of which I have here been speaking.

It is as easy to write a gaudy style without ideas as it is to spread a pallet of showy colours or to smear in a flaunting transparency. 'What do you read?' 'Words, words, words.'—'What is the matter?' 'Nothing,' it might be answered. The florid style is the reverse of the familiar. The last is employed as an unvarnished medium to convey ideas; the first is resorted to as a spangled veil to conceal the want of them. When there is nothing to be set down but words, it costs little to have them fine. Look through the dictionary, and cull out a florilegium, rival the tulippomania. Rouge high enough, and never mind the natural complexion. The vulgar, who are not in the secret, will admire the look of preternatural health and vigour; and the fashionable, who regard only appearances, will be delighted with the imposition. Keep to your sounding generalities, your tinkling phrases, and all will be well. Swell out an unmeaning truism to a perfect tympany of style. A thought, a distinction is the rock on which all this brittle cargo of verbiage splits at once. Such writers have merely verbal imaginations, that retain nothing but words. Or their puny thoughts have dragon-wings, all green and gold. They soar far above the vulgar failing of the Sermo humi obrepens—their most ordinary speech is never short of an hyperbole, splendid, imposing, vague, incomprehensible, magniloquent, a cento of sounding common-places. If some of us, whose 'ambition is more lowly,' pry a little too narrowly into nooks and corners to pick up a number of 'unconsidered trifles,' they never once direct their eyes or lift their hands to seize on any but the most gorgeous, tarnished, threadbare, patchwork set of phrases, the left-off finery of poetic extravagance, transmitted down through successive generations of barren pretenders. If they criticise actors and actresses, a huddled phantasmagoria of feathers, spangles, floods of light, and oceans of sound float before their morbid sense, which they paint in the style of Ancient Pistol. Not a glimpse can you get of the merits or defects of the performers: they are hidden in a profusion of barbarous epithets and wilful rhodomontade. Our hypercritics are not thinking of these little fantoccini beings—

but of tall phantoms of words, abstractions, genera and species, sweeping clauses, periods that unite the Poles, forced alliterations, astounding antitheses—

If they describe kings and queens, it is an Eastern pageant. The Coronation at either House is nothing to it. We get at four repeated images—a curtain, a throne, a sceptre, and a footstool. These are with them the wardrobe of a lofty imagination; and they turn their servile strains to servile uses. Do we read a description of pictures? It is not a reflection of tones and hues which 'nature's own sweet and cunning hand laid on,' but piles of precious stones, rubies, pearls, emeralds, Golconda's mines, and all the blazonry of art. Such persons are in fact besotted with words, and their brains are turned with the glittering but empty and sterile phantoms of things. Personifications, capital letters, seas of sunbeams, visions of glory, shining inscriptions, the figures of a transparency, Britannia with her shield, or Hope leaning on an anchor, make up their stock-in-trade. They may be considered as hieroglyphical writers. Images stand out in their minds isolated and important merely in themselves, without any groundwork of feeling—there is no context in their imaginations. Words affect them in the same way, by the mere sound, that is, by their possible, not by their actual application to the subject in hand. They are fascinated by first appearances, and have no sense of consequences. Nothing more is meant by them than meets the ear: they understand or feel nothing more than meets their eye. The web and texture of the universe, and of the heart of man, is a mystery to them: they have no faculty that strikes a chord in unison with it. They cannot get beyond the daubings of fancy, the varnish of sentiment. Objects are not linked to feelings, words to things, but images revolve in splendid mockery, words represent themselves in their strange rhapsodies. The categories of such a mind are pride and ignorance—pride in outside show, to which they sacrifice everything, and ignorance of the true worth and hidden structure both of words and things. With a sovereign contempt for what is familiar and natural, they are the slaves of vulgar affectation—of a routine of high-flown phrases. Scorning to imitate realities, they are unable to invent anything, to strike out one original idea. They are not copyists of nature, it is true; but they are the poorest of all plagiarists, the plagiarists of words. All is far-fetched, dear bought, artificial, oriental in subject and allusion; all is mechanical, conventional, vapid, formal, pedantic in style and execution. They startle and confound the understanding of the reader by the remoteness and obscurity of their illustrations; they soothe the ear by the monotony of the same everlasting round of circuitous metaphors. They are the mock-school in poetry and prose. They flounder about between fustian in expression and bathos in sentiment. They tantalise the fancy, but never reach the head nor touch the heart. Their Temple of Fame is like a shadowy structure raised by Dulness to Vanity, or like Cowper's description of the Empress of Russia's palace of ice, 'as worthless as in show 'twas glittering'—

FN to ESSAY VIII

(1) I have heard of such a thing as an author who makes it a rule never to admit a monosyllable into his vapid verse. Yet the charm and sweetness of Marlowe's lines depended often on their being made up almost entirely of monosyllables.

ESSAY IX. ON EFFEMINACY OF CHARACTER

Effeminacy of character arises from a prevalence of the sensibility over the will; or it consists in a want of fortitude to bear pain or to undergo fatigue, however urgent the occasion. We meet with instances of people who cannot lift up a little finger to save themselves from ruin, nor give up the smallest indulgence for the sake of any other person. They cannot put themselves out of their way on any account. No one makes a greater outcry when the day of reckoning comes, or affects greater compassion for the mischiefs they have occasioned; but till the time comes, they feel nothing, they care for nothing. They live in the present moment, are the creatures of the present impulse (whatever it may be)—and beyond that, the universe is nothing to them. The slightest toy countervails the empire of the world; they will not forego the smallest inclination they feel, for any object that can be proposed to them, or any reasons that can be urged for it. You might as well ask of the gossamer not to wanton in the idle summer air, or of the moth not to play with the flame that scorches it, as ask of these persons to put off any enjoyment for a single instant, or to gird themselves up to any enterprise of pith or moment. They have been so used to a studied succession of agreeable sensations that the shortest pause is a privation which they can by no means endure—it is like tearing them from their very existence—they have been so inured to ease and indolence, that the most trifling effort is like one of the tasks of Hercules, a thing of impossibility, at which they shudder. They lie on beds of roses, and spread their gauze wings to the sun and summer gale, and cannot bear to put their tender feet to the ground, much less to encounter the thorns and briars of the world. Life for them

and they have no fancy for fishing in troubled waters. The ordinary state of existence they regard as something importunate and vain, and out of nature. What must they think of its trials and sharp vicissitudes? Instead of voluntarily embracing pain, or labour, or danger, or death, every sensation must be wound up to the highest pitch of voluptuous refinement, every motion must be grace and elegance; they live in a luxurious, endless dream, or

Siren sounds must float around them; smiling forms must everywhere meet their sight; they must tread a soft measure on painted carpets or smooth-shaven lawns; books, arts, jests, laughter occupy every thought and hour—what have they to do with the drudgery, the struggles, the poverty, the disease or anguish which are the common lot of humanity? These things are intolerable to them, even in imagination. They disturb the enchantment in which they are lapt. They cause a wrinkle in the clear and polished surface of their existence. They exclaim with impatience and in agony, 'Oh, leave me to my repose!' How 'they shall discourse the freezing hours away, when wind and rain beat dark December down,' or 'bide the pelting of the pitiless storm,' gives them no concern, it never once enters their heads. They close the shutters, draw the curtains, and enjoy or shut out the whistling of the approaching tempest 'They take no thought for the morrow,' not they. They do not anticipate evils. Let them come when they will come, they will not run to meet them. Nay more, they will not move one step to prevent them, nor let any one else. The mention of such things is shocking; the very supposition is a nuisance that must not be tolerated. The idea of the obviate disagreeable consequences oppresses them to death, is an exertion too great for their enervated imaginations. They are not like Master Barnardine in Measure for Measure, who would not 'get up to be hanged'—they would not get up to avoid being hanged. They are completely wrapped up in themselves; but then all their self-love is concentrated in the present minute. They have worked up their effeminate and fastidious appetite of enjoyment to such a pitch that the whole of their existence, every moment of it, must be made up of these exquisite indulgences; or they will fling it all away, with indifference and scorn. They stake their entire welfare on the gratification of the passing instant. Their senses, their vanity, their thoughtless gaiety have been pampered till they ache at the smallest suspension of their perpetual dose of excitement, and they will purchase the hollow happiness of the next five minutes by a mortgage on the independence and comfort of years. They must have their will in everything, or they grow sullen and peevish like spoiled children. Whatever they set their eyes on, or make up their minds to, they must have that instant. They may pay for it hereafter. But that is no matter. They snatch a joy beyond the reach of fate, and consider the present time sacred, inviolable, unaccountable to that hard, churlish, niggard, inexorable taskmaster, the future. Now or never is their motto. They are madly devoted to the plaything, the ruling passion of the moment. What is to happen to them a week hence is as if it were to happen to them a thousand years hence. They put off the consideration for another day, and their heedless unconcern laughs at it as a fable. Their life is 'a cell of ignorance, travelling a-bed'; their existence is ephemeral; their thoughts are insect-winged; their identity expires with the whim, the folly, the passion of the hour.

Nothing but a miracle can rouse such people from their lethargy. It is not to be expected, nor is it even possible in the natural course of things. Pope's striking exclamation,

hardly applies here; namely, to evils that stare us in the face, and that might be averted with the least prudence or resolution. But nothing can be done. How should it? A slight evil, a distant danger, will not move them; and a more imminent one only makes them turn away from it in greater precipitation and alarm. The more desperate their affairs grow, the more averse they are to look into them; and the greater the effort required to retrieve them, the more incapable they are of it. At first, they will not do anything; and afterwards, it is too late. The very motives that imperiously urge them to self-reflection and amendment, combine with their natural disposition to prevent it. This amounts pretty nearly to a mathematical demonstration. Ease, vanity, pleasure are the ruling passions in such cases. How will you conquer these, or wean their infatuated votaries from them? By the dread of hardship, disgrace, pain? They turn from them, and you who point them out as the alternative, with sickly disgust; and instead of a stronger effort of courage or self-denial to avert the crisis, hasten it by a wilful determination to pamper the disease in every way, and arm themselves, not with fortitude to bear or to repel the consequences, but with judicial blindness to their approach. Will you rouse the indolent procrastinator to an irksome but necessary effort, by showing him how much he has to do? He will only draw back the more for all your entreaties and representations. If of a sanguine turn, he will make a slight attempt at a new plan of life, be satisfied with the first appearance of reform, and relapse into indolence again. If timid and undecided, the hopelessness of the undertaking will put him out of heart with it, and he will stand still in despair. Will you save a vain man from ruin, by pointing out the obloquy and ridicule that await him in his present career? He smiles at your forebodings as fantastical; or the more they are realised around him, the more he is impelled to keep out the galling conviction, and the more fondly he clings to flattery and death. He will not make a bold and resolute attempt to recover his reputation, because that would imply that it was capable of being soiled or injured; or he no sooner meditates some desultory project, than he takes credit to himself for the execution, and is delighted to wear his unearned laurels while the thing is barely talked of. The chance of success relieves the uneasiness of his apprehensions; so that he makes use of the interval only to flatter his favourite infirmity again. Would you wean a man from sensual excesses by the inevitable consequences to which they lead?—What holds more antipathy to pleasure than pain? The mind given up to self-indulgence revolts at suffering, and throws it from it as an unaccountable anomaly, as a piece of injustice when it comes. Much less will it acknowledge any affinity with or subjection to it as a mere threat. If the prediction does not immediately come true, we laugh at the prophet of ill: if it is verified, we hate our adviser proportionably, hug our vices the closer, and hold them dearer and more precious the more they cost us. We resent wholesome counsel as an impertinence, and consider those who warn us of impending mischief as if they had brought it on our heads. We cry out with the poetical enthusiast—

But oh thou! who didst lend me speech when I was dumb, to whom I owe it that I have not crept on my belly all the days of my life like the serpent, but sometimes lift my forked crest or tread the empyrean, wake thou out of thy mid-day slumbers! Shake off the heavy honeydew of thy soul, no longer lulled with that Circean cup, drinking thy own thoughts with thy own ears, but start up in thy promised likeness, and shake the pillared rottenness of the world! Leave not thy sounding words in air, write them in marble, and teach the coming age heroic truths! Up, and wake the echoes of Time! Rich in deepest lore, die not the bed-rid churl of knowledge, leaving the survivors unblest! Set, set as thou didst rise in pomp and gladness! Dart like the sunflower one broad, golden flash of light; and ere thou ascendest thy native sky, show us the steps by which thou didst scale the Heaven of philosophy, with Truth and Fancy for thy equal guides, that we may catch thy mantle, rainbow-dipped, and still read thy words dear to Memory, dearer to Fame!

There is another branch of this character, which is the trifling or dilatory character. Such persons are always creating difficulties, and unable or unwilling to remove them. They cannot brush aside a cobweb, and are stopped by an insect's wing. Their character is imbecility, rather than effeminacy. The want of energy and resolution in the persons last described arises from the habitual and inveterate predominance of other feelings and motives; in these it is a mere want of energy and resolution, that is, an inherent natural defect of vigour of nerve and voluntary power. There is a specific levity about such persons, so that you cannot propel them to any object, or give them a decided momentum in any direction or pursuit. They turn back, as it were, on the occasion that should project them forward with manly force and vehemence. They shrink from intrepidity of purpose, and are alarmed at the idea of attaining their end too soon. They will not act with steadiness or spirit, either for themselves or you. If you chalk out a line of conduct for them, or commission them to execute a certain task, they are sure to conjure up some insignificant objection or fanciful impediment in the way, and are withheld from striking an effectual blow by mere feebleness of character. They may be officious, good-natured, friendly, generous in disposition, but they are of no use to any one. They will put themselves to twice the trouble you desire, not to carry your point, but to defeat it; and in obviating needless objections, neglect the main business. If they do what you want, it is neither at the time nor in the manner that you wish. This timidity amounts to treachery; for by always anticipating some misfortune or disgrace, they realise their unmeaning apprehensions. The little bears sway in their minds over the great: a small inconvenience outweighs a solid and indispensable advantage; and their strongest bias is uniformly derived from the weakest motive. They hesitate about the best way of beginning a thing till the opportunity for action is lost, and are less anxious about its being done than the precise manner of doing it. They will destroy a passage sooner than let an objectionable word pass; and are much less concerned about the truth or the beauty of an image than about the reception it will meet with from the critics. They alter what they write, not because it is, but because it may possibly be wrong; and in their tremulous solicitude to avoid imaginary blunders, run into real ones. What is curious enough is, that with all this caution and delicacy, they are continually liable to extraordinary oversights. They are, in fact, so full of all sorts of idle apprehensions, that they do not know how to distinguish real from imaginary grounds of apprehension; and they often give some unaccountable offence, either from assuming a sudden boldness half in sport, or while they are secretly pluming themselves on their dexterity in avoiding everything exceptionable; and the same distraction of motive and shortsightedness which gets them into scrapes hinders them from seeing their way out of them. Such persons (often of ingenious and susceptible minds) are constantly at cross-purposes with themselves and others; will neither do things nor let others do them; and whether they succeed or fail, never feel confident or at their case. They spoil the freshness and originality of their own thoughts by asking contradictory advice; and in befriending others, while they are about it and about it, you might have done the thing yourself a dozen times over.

There is nothing more to be esteemed than a manly firmness and decision of character. I like a person who knows his own mind and sticks to it; who sees at once what is to be done in given circumstances and does it. He does not beat about the bush for difficulties or excuses, but goes the shortest and most effectual way to work to attain his own ends or to accomplish a useful object. If he can serve you, he will do so; if he cannot, he will say so without keeping you in needless suspense, or laying you under pretended obligations. The applying to him in any laudable undertaking is not like stirring 'a dish of skimmed milk.' There is stuff in him, and it is of the right practicable sort. He is not all his life at hawk-and-buzzard whether he shall be a Whig or a Tory, a friend or a foe, a knave or a fool; but thinks that life is short, and that there is no time to play fantastic tricks in it, to tamper with principles, or trifle with individual feelings. If he gives you a character, he does not add a damning clause to it: he does not pick holes in you lest others should, or anticipate objections lest he should be thought to be blinded by a childish partiality. His object is to serve you; and not to play the game into your enemies' hands.

I should be sorry for any one to say what he did not think of me; but I should not be pleased to see him slink out of his acknowledged opinion, lest it should not be confirmed by malice or stupidity. He who is well acquainted and well inclined to you ought to give the tone, not to receive it from others, and may set it to what key he pleases in certain cases.

There are those of whom it has been said, that to them an obligation is a reason for not doing anything, and there are others who are invariably led to do the reverse of what they should. The last are perverse, the first impracticable people. Opposed to the effeminate in disposition and manners are the coarse and brutal. As those were all softness and smoothness, these affect or are naturally attracted to whatever is vulgar and violent, harsh and repulsive in tone, in modes of speech, in forms of address, in gesture and behaviour. Thus there are some who ape the lisping of the fine lady, the drawling of the fine gentleman, and others who all their life delight in and catch the uncouth dialect, the manners and expressions of clowns and hoydens. The last are governed by an instinct of the disagreeable, by an appetite and headlong rage for violating decorum and hurting other people's feelings, their own being excited and enlivened by the shock. They deal in home truths, unpleasant reflections, and unwelcome matters of fact; as the others are all compliment and complaisance, insincerity and insipidity.

We may observe an effeminacy of style, in some degree corresponding to effeminacy of character. Writers of this stamp are great interliners of what they indite, alterers of indifferent phrases, and the plague of printers' devils. By an effeminate style I would be understood to mean one that is all florid, all fine; that cloys by its sweetness, and tires by its sameness. Such are what Dryden calls 'calm, peaceable writers.' They only aim to please, and never offend by truth or disturb by singularity. Every thought must be beautiful per se, every expression equally fine. They do not delight in vulgarisms, but in common-places, and dress out unmeaning forms in all the colours of the rainbow. They do not go out of their way to think—that would startle the indolence of the reader: they cannot express a trite thought in common words—that would be a sacrifice of their own vanity. They are not sparing of tinsel, for it costs nothing. Their works should be printed, as they generally are, on hot-pressed paper, with vignette margins. The Della Cruscan school comes under this description, which is now nearly exploded. Lord Byron is a pampered and aristocratic writer, but he is not effeminate, or we should not have his works with only the printer's name to them! I cannot help thinking that the fault of Mr. Keats's poems was a deficiency in masculine energy of style. He had beauty, tenderness, delicacy, in an uncommon degree, but there was a want of strength and substance. His Endymion is a very delightful description of the illusions of a youthful imagination given up to airy dreams—we have flowers, clouds, rainbows, moonlight, all sweet sounds and smells, and Oreads and Dryads flitting by—but there is nothing tangible in it, nothing marked or palpable—we have none of the hardy spirit or rigid forms of antiquity. He painted his own thoughts and character, and did not transport himself into the fabulous and heroic ages. There is a want of action, of character, and so far of imagination, but there is exquisite fancy. All is soft and fleshy, without bone or muscle. We see in him the youth without the manhood of poetry. His genius breathed 'vernal delight and joy.' 'Like Maia's son he stood and shook his plumes,' with fragrance filled. His mind was redolent of spring. He had not the fierceness of summer, nor the richness of autumn, and winter he seemed not to have known till he felt the icy hand of death!

FN to ESSAY IX

No notes for this essay.

ESSAY X. WHY DISTANT OBJECTS PLEASE

Distant objects please, because, in the first place, they imply an idea of space and magnitude, and because, not being obtruded too close upon the eye, we clothe them with the indistinct and airy colours of fancy. In looking at the misty mountain-tops that bound the horizon, the mind is as it were conscious of all the conceivable objects and interests that lie between; we imagine all sorts of adventures in the interim; strain our hopes and wishes to reach the air-drawn circle, or to 'descry new lands, rivers, and mountains,' stretching far beyond it: our feelings, carried out of themselves, lose their grossness and their husk, are rarefied, expanded, melt into softness and brighten into beauty, turning to ethereal mould, sky-tinctured. We drink the air before us, and borrow a more refined existence from objects that hover on the brink of nothing. Where the landscape fades from the dull sight, we fill the thin, viewless space with shapes of unknown good, and tinge the hazy prospect with hopes and wishes and more charming fears.

Whatever is placed beyond the reach of sense and knowledge, whatever is imperfectly discerned, the fancy pieces out at its leisure; and all but the present moment, but the present spot, passion claims for its own, and brooding over it with wings outspread, stamps it with an image of itself. Passion is lord of infinite space, and distant objects please because they border on its confines and are moulded by its touch. When I was a boy, I lived within sight of a range of lofty hills, whose blue tops blending with the setting sun had often tempted my longing eyes and wandering feet. At last I put my project in execution, and on a nearer approach, instead of glimmering air woven into fantastic shapes, found them huge lumpish heaps of discoloured earth. I learnt from this (in part) to leave 'Yarrow unvisited,' and not idly to disturb a dream of good!

Distance of time has much the same effect as distance of place. It is not surprising that fancy colours the prospect of the future as it thinks good, when it even effaces the forms of memory. Time takes out the sting of pain; our sorrows after a certain period have been so often steeped in a medium of thought and passion that they 'unmould their essence'; and all that remains of our original impressions is what we would wish them to have been. Not only the untried steep ascent before us, but the rude, unsightly masses of our past experience presently resume their power of deception over the eye: the golden cloud soon rests upon their heads, and the purple light of fancy clothes their barren sides! Thus we pass on, while both ends of our existence touch upon Heaven! There is (so to speak) 'a mighty stream of tendency' to good in the human mind, upon which all objects float and are imperceptibly borne along; and though in the voyage of life we meet with strong rebuffs, with rocks and quicksands, yet there is 'a tide in the affairs of men,' a heaving and a restless aspiration of the soul, by means of which, 'with sails and tackle torn,' the wreck and scattered fragments of our entire being drift into the port and haven of our desires! In all that relates to the affections, we put the will for the deed; so that the instant the pressure of unwelcome circumstances is removed, the mind recoils from their hold, recovers its elasticity, and reunites itself to that image of good which is but a reflection and configuration of its own nature. Seen in the distance, in the long perspective of waning years, the meanest incidents, enlarged and enriched by countless recollections, become interesting; the most painful, broken and softened by time, soothe. How any object that unexpectedly brings back to us old scenes and associations startles the mind! What a yearning it creates within us; what a longing to leap the intermediate space! How fondly we cling to, and try to revive the impression of all that we then were!

In truth we impose upon ourselves, and know not what we wish. It is a cunning artifice, a quaint delusion, by which, in pretending to be what we were at a particular moment of time, we would fain be all that we have since been, and have our lives to come over again. It is not the little, glimmering, almost annihilated speck in the distance that rivets our attention and 'hangs upon the beatings of our hearts': it is the interval that separates us from it, and of which it is the trembling boundary, that excites all this coil and mighty pudder in the breast. Into that great gap in our being 'come thronging soft desires' and infinite regrets. It is the contrast, the change from what we then were, that arms the half-extinguished recollection with its giant strength, and lifts the fabric of the affections from its shadowy base. In contemplating its utmost verge, we overlook the map of our existence, and re-tread, in apprehension, the journey of life. So it is that in early youth we strain our eager sight after the pursuits of manhood; and, as we are sliding off the stage, strive to gather up the toys and flowers that pleased our thoughtless childhood.

When I was quite a boy my father used to take me to the Montpelier Tea Gardens at Walworth. Do I go there now? No; the place is deserted, and its borders and its beds o'erturned. Is there, then, nothing that can

Oh! yes. I unlock the casket of memory, and draw back the warders of the brain; and there this scene of my infant wanderings still lives unfaded, or with fresher dyes. A new sense comes upon me, as in a dream; a richer perfume, brighter colours start out; my eyes dazzle; my heart heaves with its new load of bliss, and I am a child again. My sensations are all glossy, spruce, voluptuous, and fine: they wear a candied coat, and are in holiday trim. I see the beds of larkspur with purple eyes; tall hollyhocks, red or yellow; the broad sunflowers, caked in gold, with bees buzzing round them; wildernesses of pinks, and hot glowing peonies; poppies run to seed; the sugared lily, and faint mignonette, all ranged in order, and as thick as they can grow; the box-tree borders, the gravel-walks, the painted alcove, the confectionery, the clotted cream:—I think I see them now with sparkling looks; or have they vanished while I have been writing this description of them? No matter; they will return again when I least think of them. All that I have observed since, of flowers and plants, and grass-plots, and of suburb delights, seems to me borrowed from 'that first garden of my innocence'—to be slips and scions stolen from that bed of memory. In this manner the darlings of our childhood burnish out in the eye of after years, and derive their sweetest perfume from the first heartfelt sigh of pleasure breathed upon them,

If I have pleasure in a flower-garden, I have in a kitchen-garden too, and for the same reason. If I see a row of cabbage-plants, or of peas or beans coming up, I immediately think of those which I used so carefully to water of an evening at Wem, when my day's tasks were done, and of the pain with which I saw them droop and hang down their leaves in the morning's sun. Again, I never see a child's kite in the air but it seems to pull at my heart. It is to me 'a thing of life.' I feel the twinge at my elbow, the flutter and palpitation, with which I used to let go the string of my own, as it rose in the air, and towered among the clouds. My little cargo of hopes and fears ascended with it; and as it made a part of my own consciousness then, it does so still, and appears 'like some gay creature of the element,' my playmate when life was young, and twin-born with my earliest recollections. I could enlarge on this subject of childish amusements, but Mr. Leigh Hunt has treated it so well, in a paper in the Indicator, on the productions of the toy-shops of the metropolis, that if I were to insist more on it I should only pass for an imitator of that ingenious and agreeable writer, and for an indifferent one into the bargain.

Sounds, smells, and sometimes tastes, are remembered longer than visible objects, and serve, perhaps, better for links in the chain of association. The reason seems to be this: they are in their nature intermittent, and comparatively rare; whereas objects of sight are always before us, and, by their continuous succession, drive one another out. The eye is always open; and between any given impression and its recurrence a second time, fifty thousand other impressions have, in all likelihood, been stamped upon the sense and on the brain. The other senses are not so active or vigilant. They are but seldom called into play. The ear, for example, is oftener courted by silence than noise; and the sounds that break that silence sink deeper and more durably into the mind. I have a more present and lively recollection of certain scents, tastes, and sounds, for this reason, than I have of mere visible images, because they are more original, and less worn by frequent repetition. Where there is nothing interposed between any two impressions, whatever the distance of time that parts them, they naturally seem to touch; and the renewed impression recalls the former one in full force, without distraction or competitor. The taste of barberries, which have hung out in the snow during the severity of a North American winter, I have in my mouth still, after an interval of thirty years; for I have met with no other taste in all that time at all like it. It remains by itself, almost like the impression of a sixth sense. But the colour is mixed up indiscriminately with the colours of many other berries, nor should I be able to distinguish it among them. The smell of a brick-kiln carries the evidence of its own identity with it: neither is it to me (from peculiar associations) unpleasant. The colour of brickdust, on the contrary, is more common, and easily confounded with other colours. Raphael did not keep it quite distinct from his flesh colour. I will not say that we have a more perfect recollection of the human voice than of that complex picture the human face, but I think the sudden hearing of a well-known voice has something in it more affecting and striking than the sudden meeting with the face: perhaps, indeed, this may be because we have a more familiar remembrance of the one than the other, and the voice takes us more by surprise on that account. I am by no means certain (generally speaking) that we have the ideas of the other senses so accurate and well made out as those of visible form: what I chiefly mean is, that the feelings belonging to the sensations of our other organs, when accidentally recalled, are kept more separate and pure. Musical sounds, probably, owe a good deal of their interest and romantic effect to the principle here spoken of. Were they constant, they would become indifferent, as we may find with respect to disagreeable noises, which we do not hear after a time. I know no situation more pitiable than that of a blind fiddler who has but one sense left (if we except the sense of snuff-taking(1)) and who has that stunned or deafened by his own villainous noises. Shakespear says.