It was not so ten years since (ten short years since.—Ah! how fast those years run that hurry us away from our last fond dream of bliss!) when I loitered along thy green retreats, O Twickenham! and conned over (with enthusiastic delight) the chequered view which one of thy favourites drew of human life! I deposited my account of the play at the Morning Chronicle office in the afternoon, and went to see Miss Stephens as Polly. Those were happy times, in which she first came out in this character, in Mandane, where she sang the delicious air, 'If o'er the cruel tyrant, Love' (so as it can never be sung again), in Love in a Village, where the scene opened with her and Miss Matthews in a painted garden of roses and honeysuckles, and 'Hope, thou nurse of young Desire' thrilled from two sweet voices in turn. Oh! may my ears sometimes still drink the same sweet sounds, embalmed with the spirit of youth, of health, and joy, but in the thoughts of an instant, but in a dream of fancy, and I shall hardly need to complain! When I got back, after the play, Perry called out, with his cordial, grating voice, 'Well, how did she do?' and on my speaking in high terms, answered, that 'he had been to dine with his friend the Duke, that some conversation had passed on the subject, he was afraid it was not the thing, it was not the true sostenuto style; but as I had written the article' (holding my peroration on the Beggar's Opera carelessly in his hand), 'it might pass!' I could perceive that the rogue licked his lips at it, and had already in imagination 'bought golden opinions of all sorts of people' by this very criticism, and I had the satisfaction the next day to meet Miss Stephens coming out of the editor's room, who had been to thank him for his very flattering account of her.

I was sent to see Kean the first night of his performance in Shylock, when there were about a hundred people in the pit; but from his masterly and spirited delivery of the first striking speech, 'On such a day you called me a dog,' etc., I perceived it was a hollow thing. So it was given out in the Chronicle; but Perry was continually at me as other people were at him, and was afraid it would not last. It was to no purpose I said it would last: yet I am in the right hitherto. It has been said, ridiculously, that Mr. Kean was written up in the Chronicle. I beg leave to state my opinion that no actor can be written up or down by a paper. An author may be puffed into notice, or damned by criticism, because his book may not have been read. An artist may be overrated, or undeservedly decried, because the public is not much accustomed to see or judge of pictures. But an actor is judged by his peers, the play-going public, and must stand or fall by his own merits or defects. The critic may give the tone or have a casting voice where popular opinion is divided; but he can no more force that opinion either way, or wrest it from its base in common sense and feeling, than he can move Stonehenge. Mr. Kean had, however, physical disadvantages and strong prejudices to encounter, and so far the liberal and independent part of the press might have been of service in helping him to his seat in the public favour. May he long keep it with dignity and firmness!(2)

It was pretended by the Covent Garden people, and some others at the time, that Mr. Kean's popularity was a mere effect of love of novelty, a nine days' wonder, like the rage after Master Betty's acting, and would be as soon over. The comparison did not hold. Master Betty's acting was so far wonderful, and drew crowds to see it as a mere singularity, because he was a boy. Mr. Kean was a grown man, and there was no rule or precedent established in the ordinary course of nature why some other man should not appear in tragedy as great as John Kemble. Farther, Master Betty's acting was a singular phenomenon, but it was also as beautiful as it was singular. I saw him in the part of Douglas, and he seemed almost like 'some gay creature of the element,' moving about gracefully, with all the flexibility of youth, and murmuring AEolian sounds with plaintive tenderness. I shall never forget the way in which he repeated the line in which young Norval says, speaking of the fate of two brothers:

The tones fell and seemed to linger prophetic on my ear. Perhaps the wonder was made greater than it was. Boys at that age can often read remarkably well, and certainly are not without natural grace and sweetness of voice. The Westminster schoolboys are a better company of comedians than we find at most of our theatres. As to the understanding a part like Douglas, at least, I see no difficulty on that score. I myself used to recite the speech in Enfield's Speaker with good emphasis and discretion when at school, and entered, about the same age, into the wild sweetness of the sentiments in Mrs. Radcliffe's Romance of the Forest, I am sure, quite as much as I should do now; yet the same experiment has been often tried since and has uniformly failed.(3)

It was soon after this that Coleridge returned from Italy, and he got one day into a long tirade to explain what a ridiculous farce the whole was, and how all the people abroad wore shocked at the gullibility of the English nation, who on this and every other occasion were open to the artifices of all sorts of quacks, wondering how any persons with the smallest pretensions to common sense could for a moment suppose that a boy could act the characters of men without any of their knowledge, their experience, or their passions. We made some faint resistance, but in vain. The discourse then took a turn, and Coleridge began a laboured eulogy on some promising youth, the son of an English artist, whom he had met in Italy, and who had wandered all over the Campagna with him, whose talents, he assured us, were the admiration of all Rome, and whose early designs had almost all the grace and purity of Raphael's. At last, some one interrupted the endless theme by saying a little impatiently, 'Why just now you would not let us believe our own eyes and ears about young Betty, because you have a theory against premature talents, and now you start a boy phenomenon that nobody knows anything about but yourself—a young artist that, you tell us, is to rival Raphael!' The truth is, we like to have something to admire ourselves, as well as to make other people gape and stare at; but then it must be a discovery of our own, an idol of our own making and setting up:—if others stumble on the discovery before us, or join in crying it up to the skies, we then set to work to prove that this is a vulgar delusion, and show our sagacity and freedom from prejudice by pulling it in pieces with all the coolness imaginable. Whether we blow the bubble or crush it in our hands, vanity and the desire of empty distinction are equally at the bottom of our sanguine credulity or fastidious scepticism. There are some who always fall in with the fashionable prejudice as others affect singularity of opinion on all such points, according as they think they have more or less wit to judge for themselves.

If a little varnishing and daubing, a little puffing and quacking, and giving yourself a good name, and getting a friend to speak a word for you, is excusable in any profession, it is, I think, in that of painting. Painting is an occult science, and requires a little ostentation and mock-gravity in the professor. A man may here rival Katterfelto, 'with his hair on end at his own wonders, wondering for his bread'; for, if he does not, he may in the end go without it. He may ride on a high-trotting horse, in green spectacles, and attract notice to his person anyhow he can, if he only works hard at his profession. If 'it only is when he is out he is acting,' let him make the fools stare, but give others something worth looking at. Good Mr. Carver and Gilder, good Mr. Printer's Devil, good Mr. Billsticker, 'do me your offices' unmolested! Painting is a plain ground, and requires a great many heraldic quarterings and facings to set it off. Lay on, and do not spare. No man's merit can be fairly judged of if he is not known; and how can he be known if he keeps entirely in the background?(4) A great name in art goes but a little way, is chilled as it creeps along the surface of the world without something to revive and make it blaze up with fresh splendour. Fame is here almost obscurity. It is long before your name affixed to a sterling design will be spelt out by an undiscerning regardless public. Have it proclaimed, therefore, as a necessary precaution, by sound of trumpet at the corners of the street, let it be stuck as a label in your mouth, carry it on a placard at your back. Otherwise, the world will never trouble themselves about you, or will very soon forget you. A celebrated artist of the present day, whose name is engraved at the bottom of some of the most touching specimens of English art, once had a frame-maker call on him, who, on entering his room, exclaimed with some surprise, 'What, are you a painter, sir?' The other made answer, a little startled in his turn, 'Why, didn't you know that? Did you never see my name at the bottom of prints?' He could not recollect that he had. 'And yet you sell picture-frames and prints?'—'Yes.'—'What painter's names, then, did he recollect: did he know West's?' 'Oh! yes.'—'And Opie's?' 'Yes.'—'And Fuseli's?' 'Oh! yes.'—'But you never heard of me?' 'I cannot say that I ever did!' It was plain from this conversation that Mr. Northcote had not kept company enough with picture-dealers and newspaper critics. On another occasion, a country gentleman, who was sitting to him for his portrait, asked him if he had any pictures in the Exhibition at Somerset House, and on his replying in the affirmative, desired to know what they were. He mentioned, among others, The Marriage of Two Children; on which the gentleman expressed great surprise, and said that was the very picture his wife was always teasing him to go and have another look at, though he had never noticed the painter's name. When the public are so eager to be amused, and care so little who it is that amuses them, it is not amiss to remind them of it now and then; or even to have a starling taught to repeat the name, to which they owe such misprised obligations, in their drowsy ears. On any other principle I cannot conceive how painters (not without genius or industry) can fling themselves at the head of the public in the manner they do, having lives written of themselves, busts made of themselves, prints stuck in the shop-windows of themselves, and their names placed in 'the first row of the rubric,' with those of Rubens, Raphael, and Michael Angelo, swearing by themselves or their proxies that these glorified spirits would do well to leave the abodes of the blest in order to stand in mute wonder and with uplifted hands before some production of theirs which is yet hardly dry! Oh! whatever you do, leave that string untouched. It will jar the rash and unhallowed hand that meddles with it. Profane not the mighty dead by mixing them up with the uncanonised living. Leave yourself a reversion in immortality, beyond the noisy clamour of the day. Do not quite lose your respect for public opinion by making it in all cases a palpable cheat, the echo of your own lungs that are hoarse with calling on the world to admire. Do not think to bully posterity, or to cozen your contemporaries. Be not always anticipating the effect of your picture on the town—think more about deserving success than commanding it. In issuing so many promissory notes upon the bank of fame, do not forget you have to pay in sterling gold. Believe that there is something in the pursuit of high art, beyond the manufacture of a paragraph or the collection of receipts at the door of an exhibition. Venerate art as art. Study the works of others, and inquire into those of nature. Gaze at beauty. Become great by great efforts, and not by pompous pretensions. Do not think the world was blind to merit before your time, nor make the reputation of great geniuses the stalking-horse to your vanity. You have done enough to insure yourself attention: you have now only to do something to deserve it, and to make good all that you have aspired to do.

There is a silent and systematic assumption of superiority which is as barefaced and unprincipled an imposture as the most impudent puffing. You may, by a tacit or avowed censure on all other arts, on all works of art, on all other pretensions, tastes, talents, but your own, produce a complete ostracism in the world of intellect, and leave yourself and your own performances alone standing, a mighty monument in an universal waste and wreck of genius. By cutting away the rude block and removing the rubbish from around it, the idol may be effectually exposed to view, placed on its pedestal of pride, without any other assistance. This method is more inexcusable than the other. For there is no egotism or vanity so hateful as that which strikes at our satisfaction in everything else, and derives its nourishment from preying, like the vampire, on the carcase of others' reputation. I would rather, in a word, that a man should talk for ever of himself with vapid, senseless assurance, than preserve a malignant, heartless silence when the merit of a rival is mentioned. I have seen instances of both, and can judge pretty well between them.

There is no great harm in putting forward one's own pretensions (of whatever kind) if this does not bear a sour, malignant aspect towards others. Every one sets himself off to the best advantage he can, and tries to steal a march upon public opinion. In this sense, too, 'all the world's a stage, and all the men and women merely players.' Life itself is a piece of harmless quackery. A great house over your head is of no use but to announce the great man within. Dress, equipage, title, livery-servants are only so many quack advertisements and assumptions of the question of merit. The star that glitters at the breast would be worth nothing but as a badge of personal distinction; and the crown itself is but a symbol of the virtues which the possessor inherits from a long line of illustrious ancestors! How much honour and honesty have been forfeited to be graced with a title or a ribbon; how much genius and worth have sunk to the grave without an escutcheon and without an epitaph!

As men of rank and fortune keep lackeys to reinforce their claims to self-respect, so men of genius sometimes surround themselves with a coterie of admirers to increase their reputation with the public. These proneurs, or satellites, repeat all their good things, laugh loud at all their jokes, and remember all their oracular decrees. They are their shadows and echoes. They talk of them in all companies, and bring back word of all that has been said about them. They hawk the good qualities of their patrons as shopmen and barkers tease you to buy goods. I have no notion of this vanity at second-hand; nor can I see how this servile testimony from inferiors ('some followers of mine own') can be a proof of merit. It may soothe the ear, but that it should impose on the understanding, I own, surprises me; yet there are persons who cannot exist without a cortege of this kind about them, in which they smiling read the opinion of the world, in the midst of all sorts of rancorous abuse and hostility, as Otho called for his mirror in the Illyrian field. One good thing is, that this evil, in some degree, cures itself; and when a man has been nearly ruined by a herd of these sycophants, he finds them leaving him, like thriftless dependants, for some more eligible situation, carrying away with them all the tattle they can pick up, and some left-off suit of finery. The same proneness to adulation which made them lick the dust before one idol makes them bow as low to the rising Sun; they are as lavish of detraction as they were prurient with praise; and the protege and admirer of the editor of the ——- figures in Blackwood's train. The man is a lackey, and it is of little consequence whose livery he wears!

I would advise those who volunteer the office of puffing to go the whole length of it. No half-measures will do. Lay it on thick and threefold, or not at all. If you are once harnessed into that vehicle, it will be in vain for you to think of stopping. You must drive to the devil at once. The mighty Tamburlane, to whose car you are yoked, cries out:

He has you on the hip, for you have pledged your taste and judgment to his genius. Never fear but he will drive this wedge. If you are once screwed into such a machine, you must extricate yourself by main force. No hyperboles are too much: any drawback, any admiration on this side idolatry, is high treason. It is an unpardonable offence to say that the last production of your patron is not so good as the one before it, or that a performer shines more in one character than another. I remember once hearing a player declare that he never looked into any newspapers or magazines on account of the abuse that was always levelled at himself in them, though there were not less than three persons in company who made it their business through these conduit pipes of fame to 'cry him up to the top of the compass.' This sort of expectation is a little exigeante!

One fashionable mode of acquiring reputation is by patronising it. This may be from various motives—real good nature, good taste, vanity, or pride. I shall only speak of the spurious ones in this place. The quack and the would-be patron are well met. The house of the latter is a sort of curiosity shop or menagerie, where all sorts of intellectual pretenders and grotesques, musical children, arithmetical prodigies, occult philosophers, lecturers, accoucheurs, apes, chemists, fiddlers, and buffoons are to be seen for the asking, and are shown to the company for nothing. The folding doors are thrown open, and display a collection that the world cannot parallel again. There may be a few persons of common sense and established reputation, rari nantes in gurgite vasto, otherwise it is a mere scramble or lottery. The professed encourager of virtu and letters, being disappointed of the great names, sends out into the highways for the halt, the lame, and the blind, for all who pretend to distinction, defects, and obliquities, for all the disposable vanity or affectation floating on the town, in hopes that, among so many oddities, chance may bring some jewel or treasure to his door, which he may have the good fortune to appropriate in some way to his own use, or the credit of displaying to others. The art is to encourage rising genius—to bring forward doubtful and unnoticed merit. You thus get a set of novices and raw pretenders about you, whose actual productions do not interfere with your self-love, and whose future efforts may reflect credit on your singular sagacity and faculty for finding out talent in the germ; and in the next place, by having them completely in your power, you are at liberty to dismiss them whenever you will, and to supply the deficiency by a new set of wondering, unwashed faces in a rapid succession; an 'aiery of children,' embryo actors, artists, poets, or philosophers. Like unfledged birds, they are hatched, nursed, and fed by hand: this gives room for a vast deal of management, meddling, care, and condescending solicitude; but the instant the callow brood are fledged, they are driven from the nest, and forced to shift for themselves in the wide world. One sterling production decides the question between them and their patrons, and from that time they become the property of the public. Thus a succession of importunate, hungry, idle, overweening candidates for fame are encouraged by these fickle keepers, only to be betrayed, and left to starve or beg, or pine in obscurity, while the man of merit and respectability is neglected, discountenanced, and stigmatised, because he will not lend himself as a tool to this system of splendid imposition, or pamper the luxury and weaknesses of the Vulgar Great. When a young artist is too independent to subscribe to the dogmas of his superiors, or fulfils their predictions and prognostics of wonderful contingent talent too soon, so as to get out of leading-strings, and lean on public opinion for partial support, exceptions are taken to his dress, dialect, or manners, and he is expelled the circle with a character for ingratitude and treachery. None can procure toleration long but those who do not contradict the opinions or excite the jealousy of their betters. One independent step is an appeal from them to the public, their natural and hated rivals, and annuls the contract between them, which implies ostentatious countenance on the one part and servile submission on the other. But enough of this.

The patronage of men of talent, even when it proceeds from vanity, is often carried on with a spirit of generosity and magnificence, as long as these are in difficulties and a state of dependence; but as the principle of action in this case is a love of power, the complacency in the object of friendly regard ceases with the opportunity or necessity for the same manifest display of power; and when the unfortunate protege is just coming to land, and expects a last helping hand, he is, to his surprise, pushed back, in order that he may be saved from drowning once more. You are not hailed ashore, as you had supposed, by these kind friends, as a mutual triumph after all your struggles and their exertions in your behalf. It is a piece of presumption in you to be seen walking on terra firma: you are required, at the risk of their friendship, to be always swimming in troubled waters, that they may have the credit of throwing out ropes, and sending out lifeboats to you, without ever bringing you ashore. Your successes, your reputation, which you think would please them, as justifying their good opinion, are coldly received, and looked at askance, because they remove your dependence on them: if you are under a cloud, they do all they can to keep you there by their goodwill: they are so sensible of your gratitude that they wish your obligations never to cease, and take care you shall owe no one else a good turn; and provided you are compelled or contented to remain always in poverty, obscurity, and disgrace, they will continue your very good friends and humble servants to command, to the end of the chapter. The tenure of these indentures is hard. Such persons will wilfully forfeit the gratitude created by years of friendship, by refusing to perform the last act of kindness that is likely ever to be demanded of them: will lend you money, if you have no chance of repaying them: will give you their good word, if nobody will believe it; and the only thing they do not forgive is an attempt or probability on your part of being able to repay your obligations. There is something disinterested in all this: at least, it does not show a cowardly or mercenary disposition, but it savours too much of arrogance and arbitrary pretension. It throws a damning light on this question, to consider who are mostly the subjects of the patronage of the great, and in the habit of receiving cards of invitation to splendid dinners. I confess, for one, I am not on the list; at which I do not grieve much, nor wonder at all. Authors, in general, are not in much request. Dr. Johnson was asked why he was not more frequently invited out; and he said, 'Because great lords and ladies do not like to have their mouths stopped.' Garrick was not in this predicament: he could amuse the company in the drawing-room by imitating the great moralist and lexicographer, and make the negro-boy in the courtyard die with laughing to see him take off the swelling airs and strut of the turkey-cock. This was clever and amusing, but it did not involve an opinion, it did not lead to a difference of sentiment, in which the owner of the house might be found in the wrong. Players, singers, dancers, are hand and glove with the great. They embellish, and have an eclat in their names, but do not come into collision. Eminent portrait-painters, again, are tolerated, because they come into personal contact with the great; and sculptors hold equality with lords when they have a certain quantity of solid marble in their workshops to answer for the solidity of their pretensions. People of fashion and property must have something to show for their patronage, something visible or tangible. A sentiment is a visionary thing; an argument may lead to dangerous consequences, and those who are likely to broach either one or the other ate not, therefore, fit for good company in general. Poets and men of genius who find their way there, soon find their way out. They are not of that ilk, with some exceptions. Painters who come in contact with majesty get on by servility or buffoonery, by letting themselves down in some way. Sir Joshua was never a favourite at court. He kept too much at a distance. Beechey gained a vast deal of favour by familiarity, and lost it by taking too great freedoms.(5) West ingratiated himself in the same quarter by means of practices as little creditable to himself as his august employer, namely, by playing the hypocrite, and professing sentiments the reverse of those he naturally felt. Kings (I know not how justly) have been said to be lovers of low company and low conversation. They are also said to be fond of dirty practical jokes. If the fact is so, the reason is as follows. From the elevation of their rank, aided by pride and flattery, they look down on the rest of mankind, and would not be thought to have all their advantages for nothing. They wish to maintain the same precedence in private life that belongs to them as a matter of outward ceremony. This pretension they cannot keep up by fair means; for in wit or argument they are not superior to the common run of men. They therefore answer a repartee by a practical joke, which turns the laugh against others, and cannot be retaliated with safety. That is, they avail themselves of the privilege of their situation to take liberties, and degrade those about them, as they can only keep up the idea of their own dignity by proportionably lowering their company.

FN to ESSAY XIV

(1) It is calculated that West cleared some hundred pounds by the catalogues that were sold of his great picture of Death riding on the Pale Horse.

(2) I cannot say how in this respect it might have fared if a Mr. Mudford, a fat gentleman, who might not have 'liked yon lean and hungry Roscius,' had continued in the theatrical department of Mr. Perry's paper at the time of this actor's first appearance; but I had been put upon this duty just before, and afterwards Mr. Mudford's spare talents were not in much request. This, I believe, is the reason why he takes pains every now and then to inform the readers of the Courier that it is impossible for any one to understand a word that I write.

(3) I (not very long ago) had the pleasure of spending an evening with Mr. Betty, when we had some 'good talk' about the good old times of acting. I wanted to insinuate that I had been a sneaking admirer, but could not bring it in. As, however, we were putting on our greatcoats downstairs I ventured to break the ice by saying, 'There is one actor of that period of whom we have not made honourable mention, I mean Master Betty.' 'Oh!' he said, 'I have forgot all that.' I replied, that he might, but that I could not forget the pleasure I had had in seeing him. On which he turned off, and, shaking his sides heartily, and with no measured demand upon his lungs, called out, 'Oh, memory! memory!' in a way that showed he felt the full force of the allusion. I found afterwards that the subject did not offend, and we were to have drunk some Burton ale together the following evening, but were prevented. I hope he will consider that the engagement still stands good.

(4) Sir Joshua, who was not a vain man, purchased a tawdry sheriff's carriage, soon after he took his house in Leicester Fields, and desired his sister to ride about in it, in order that people might ask, 'Whose it was?' and the answer would be, 'It belongs to the great painter!'

(5) Sharp became a great favourite of the king on the following occasion. It was the custom, when the king went through the lobbies of the palace, for those who preceded him to cry out, 'Sharp, sharp, look sharp!' in order to clear the way. Mr. Sharp, who was waiting in a room just by (preparing some colours), hearing his name repeated so urgently, ran out in great haste, and came up with all his force against the king, who was passing the door at the time. The young artist was knocked down in the encounter, and the attendants were in the greatest consternation; but the king laughed heartily at the adventure, and took great notice of the unfortunate subject of it from that time forward.

ESSAY XV. ON THE KNOWLEDGE OF CHARACTER

It is astonishing, with all our opportunities and practice, how little we know of this subject. For myself, I feel that the more I learn, the less I understand it.

I remember, several years ago, a conversation in the diligence coming from Paris, in which, on its being mentioned that a man had married his wife after thirteen years' courtship, a fellow-countryman of mine observed, that 'then, at least, he would be acquainted with her character'; when a Monsieur P——, inventor and proprietor of the Invisible Girl, made answer, 'No, not at all; for that the very next day she might turn out the very reverse of the character that she had appeared in during all the preceding time.'(1) I could not help admiring the superior sagacity of the French juggler, and it struck me then that we could never be sure when we had got at the bottom of this riddle.

There are various ways of getting at a knowledge of character—by looks, words, actions. The first of these, which seems the most superficial, is perhaps the safest, and least liable to deceive: nay, it is that which mankind, in spite of their pretending to the contrary, most generally go by. Professions pass for nothing, and actions may be counterfeited; but a man cannot help his looks. 'Speech,' said a celebrated wit, 'was given to man to conceal his thoughts.' Yet I do not know that the greatest hypocrites are the least silent. The mouth of Cromwell is pursed up in the portraits of him, as if he was afraid to trust himself with words. Lord Chesterfield advises us, if we wish to know the real sentiments of the person we are conversing with, to look in his face, for he can more easily command his words than his features. A man's whole life may be picture painted of him by a great artist would probably stamp his true character on the canvas, and betray the secret to posterity. Men's opinions were divided, in their lifetimes, about such prominent personages as Charles V. and Ignatius Loyola, partly, no doubt, from passion and interest, but partly from contradictory evidence in their ostensible conduct: the spectator, who has ever seen their pictures by Titian, judges of them at once, and truly. I had rather leave a good portrait of myself behind me than have a fine epitaph. The face, for the most part, tells what we have thought and felt—the rest is nothing. I prefixed to his poems than from anything he ever wrote. Caesar's Commentaries would not have redeemed him in my opinion, if the bust of him had resembled the Duke of Wellington. My old friend Fawcett used to say, that if Sir Isaac Newton himself had lisped, he could not have thought anything of him. So I cannot persuade myself that any one is a great man who looks like a fool. In this I may be wrong.

First impressions are often the truest, as we find (not unfrequently) to our cost when we have been wheedled out of them by plausible professions or actions. A man's look is the work of years, it is stamped on his countenance by the events of his whole life, nay, more, by the hand of nature, and it is not to be got rid of easily. There is, as it has been remarked repeatedly, something in a person's appearance at first sight which we do not like, and that gives us an odd twinge, but which is overlooked in a multiplicity of other circumstances, till the mask is taken off, and we see this lurking character verified in the plainest manner in the sequel. We are struck at first, and by chance, with what is peculiar and characteristic; also with permanent traits and general effect: this afterwards goes off in a set of unmeaning, common-place details. This sort of prima facie evidence, then, shows what a man is better than what he says or does; for it shows us the habit of his mind, which is the same under all circumstances and disguises. You will say, on the other hand, that there is no judging by appearances, as a general rule. No one, for instance, would take such a person for a very clever man without knowing who he was. Then, ten to one, he is not: he may have got the reputation, but it is a mistake. You say, there is Mr. ——-, undoubtedly a person of great genius; yet, except when excited by something extraordinary, he seems half dead. He has wit at will, yet wants life and spirit. He is capable of the most generous acts, yet meanness seems to cling to every motion. He looks like a poor creature—and in truth he is one! The first impression he gives you of him answers nearly to the feeling he has of his personal identity; and this image of himself, rising from his thoughts, and shrouding his faculties, is that which sits with him in the house, walks out with him into the street, and haunts his bedside. The best part of his existence is dull, cloudy, leaden: the flashes of light that proceed from it, or streak it here and there, may dazzle others, but do not deceive himse deficiency it indicates. He who undervalues himself is justly undervalued by others. Whatever good properties he may possess are, in fact, neutralised by a 'cold rheum' running through his veins, and taking away the zest of his pretensions, the pith and marrow of his performances. What is it to me that I can write these TABLE-TALKS? It is true I can, by a reluctant effort, rake up a parcel of half-forgotten observations, but they do not float on the surface of my mind, nor stir it with any sense of pleasure, nor even of pride. Others have more property in them than I have: they may reap the benefit, I have only had the pain. Otherwise, they are to me as if they had never existed; nor should I know that I had ever thought at all, but that I am reminded of it by the strangeness of my appearance, and my unfitness for everything else. Look in Coleridge's face while he is talking. His words are such as might 'create a soul under the ribs of death.' His face is a blank. Which are we to consider as the true index of his mind? Pain, languor, shadowy remembrances, are the uneasy inmates there: his lips move mechanically!

There are people that we do not like, though we may have known them long, and have no fault to find with them, 'their appearance, as we say, is so much against them.' That is not all, if we could find it out. There is, generally, a reason for this prejudice; for nature is true to itself. They may be very good sort of people too, in their way, but still something is the matter. There is a coldness, a selfishness, a levity, an insincerity, which we cannot fix upon any particular phrase or action, but we see it in their whole persons and deportment. One reason that we do not see it in any other way may be, that they are all the time trying to conceal this defect by every means in their power. There is, luckily, a sort of second sight in morals: we discern the lurking indications of temper and habit a long while before their palpable effects appear. I once used to meet with a person at an ordinary, a very civil, good-looking man in other respects, but with an odd look about his eyes, which I could not explain, as if he saw you under their fringed lids, and you could not see him again: this man was a common sharper. The greatest hypocrite I ever knew was a little, demure, pretty, modest-looking girl, with eyes timidly cast upon the ground, and an air soft as enchantment; the only circumstance that could lead to a suspicion of her true character was a cold, sullen, watery, glazed look about the eyes, which she bent on vacancy, as if determined to avoid all explanation with yours. I might have spied in their glittering, motionless surface the rocks and quicksands that awaited me below! We do not feel quite at ease in the company or friendship of those who have any natural obliquity or imperfection of person. The reason is, they are not on the best terms with themselves, and are sometimes apt to play off on others the tricks that nature has played them. This, however, is a remark that, perhaps, ought not to have been made. I know a person to whom it has been objected as a disqualification for friendship, that he never shakes you cordially by the hand. I own this is a damper to sanguine and florid temperaments, who abound in these practical demonstrations and 'compliments extern.' The same person who testifies the least pleasure at meeting you, is the last to quit his seat in your company, grapples with a subject in conversation right earnestly, and is, I take it, backward to give up a cause or a friend. Cold and distant in appearance, he piques himself on being the king of good haters, and a no less zealous partisan. The most phlegmatic constitutions often contain the most inflammable spirits—a fire is struck from the hardest flints.

And this is another reason that makes it difficult to judge of character. Extremes meet; and qualities display themselves by the most contradictory appearances. Any inclination, in consequence of being generally suppressed, vents itself the more violently when an opportunity presents itself: the greatest grossness sometimes accompanies the greatest refinement, as a natural relief, one to the other; and we find the most reserved and indifferent tempers at the beginning of an entertainment, or an acquaintance, turn out the most communicative and cordial at the end of it. Some spirits exhaust themselves at first: others gain strength by progression. Some minds have a greater facility of throwing off impressions—are, as it were, more transparent or porous than others. Thus the French present a marked contrast to the English in this respect. A Frenchman addresses you at once with a sort of lively indifference: an Englishman is more on his guard, feels his way, and is either exceedingly reserved, or lets you into his whole confidence, which he cannot so well impart to an entire stranger. Again, a Frenchman is naturally humane: an Englishman is, I should say, only friendly by habit. His virtues and his vices cost him more than they do his more gay and volatile neighbours. An Englishman is said to speak his mind more plainly than others,—yes, if it will give you pain to hear it. He does not care whom he offends by his discourse: a foreigner generally strives to oblige in what he says. The French are accused of promising more than they perform. That may be, and yet they may perform as many good-natured acts as the English, if the latter are as averse to perform as they are to promise. Even the professions of the French may be sincere at the time, or arise out of the impulse of the moment; though their desire to serve you may be neither very violent nor very lasting. I cannot think, notwithstanding, that the French are not a serious people; nay, that they are not a more reflecting people than the common run of the English. Let those who think them merely light and mercurial explain that enigma, their everlasting prosing tragedy. The English are considered as comparatively a slow, plodding people. If the French are quicker, they are also more plodding. See, for example, how highly finished and elaborate their works of art are! How systematic and correct they aim at being in all their productions of a graver cast! 'If the French have a fault,' as Yorick said, 'it is that they are too grave.' With wit, sense, cheerfulness, patience, good-nature, and refinement of manners, all they want is imagination and sturdiness of moral principle! Such are some of the contradictions in the character of the two nations, and so little does the character of either appear to have been understood! Nothing can be more ridiculous indeed than the way in which we exaggerate each other's vices and extenuate our own. The whole is an affair of prejudice on one side of the question, and of partiality on the other. Travellers who set out to carry back a true report of the case appear to lose not only the use of their understandings, but of their senses, the instant they set foot in a foreign land. The commonest facts and appearances are distorted and discoloured. They go abroad with certain preconceived notions on the subject, and they make everything answer, in reason's spite, to their favourite theory. In addition to the difficulty of explaining customs and manners foreign to our own, there are all the obstacles of wilful prepossession thrown in the way. It is not, therefore, much to be wondered at that nations have arrived at so little knowledge of one another's characters; and that, where the object has been to widen the breach between them, any slight differences that occur are easily blown into a blaze of fury by repeated misrepresentations, and all the exaggerations that malice or folly can invent!

This ignorance of character is not confined to foreign nations: we are ignorant of that of our own countrymen in a class a little below or above ourselves. We shall hardly pretend to pronounce magisterially on the good or bad qualities of strangers; and, at the same time, we are ignorant of those of our friends, of our kindred, and of our own. We are in all these cases either too near or too far off the object to judge of it properly.

Persons, for instance, in a higher or middle rank of life know little or nothing of the characters of those below them, as servants, country people, etc. I would lay it down in the first place as a general rule on this subject, that all uneducated people are hypocrites. Their sole business is to deceive. They conceive themselves in a state of hostility with others, and stratagems are fair in war. The inmates of the kitchen and the parlour are always (as far as respects their feelings and intentions towards each other) in Hobbes's; 'state of nature.' Servants and others in that line of life have nothing to exercise their spare talents for invention upon but those about them. Their superfluous electrical particles of wit and fancy are not carried off by those established and fashionable conductors, novels and romances. Their faculties are not buried in books, but all alive and stirring, erect and bristling like a cat's back. Their coarse conversation sparkles with 'wild wit, invention ever new.' Their betters try all they can to set themselves up above them, and they try all they can to pull them down to their own level. They do this by getting up a little comic interlude, a daily, domestic, homely drama out of the odds and ends of the family failings, of which there is in general a pretty plentiful supply, or make up the deficiency of materials out of their own heads. They turn the qualities of their masters and mistresses inside out, and any real kindness or condescension only sets them the more against you. They are not to be taken in that way—they will not be baulked in the spite they have to you. They only set to work with redoubled alacrity, to lessen the favour or to blacken your character. They feel themselves like a degraded caste, and cannot understand how the obligations can be all on one side, and the advantages all on the other. You cannot come to equal terms with them—they reject all such overtures as insidious and hollow—nor can you ever calculate upon their gratitude or goodwill, any more than if they were so many strolling Gipsies or wild Indians. They have no fellow-feeling, they keep no faith with the more privileged classes. They are in your power, and they endeavour to be even with you by trick and cunning, by lying and chicanery. In this they have nothing to restrain them. Their whole life is a succession of shifts, excuses, and expedients. The love of truth is a principle with those only who have made it their study, who have applied themselves to the pursuit of some art or science, where the intellect is severely tasked, and learns by habit to take a pride in, and to set a just value on, the correctness of its conclusions. To have a disinterested regard to truth, the mind must have contemplated it in abstract and remote questions; whereas the ignorant and vulgar are only conversant with those things in which their own interest is concerned. All their notions are local, personal, and consequently gross and selfish. They say whatever comes uppermost—turn whatever happens to their own account—and invent any story, or give any answer that suits their purposes. Instead of being bigoted to general principles, they trump up any lie for the occasion, and the more of a thumper it is, the better they like it; the more unlooked-for it is, why, so much the more of a God-send! They have no conscience about the matter; and if you find them out in any of their manoeuvres, are not ashamed of themselves, but angry with you. If you remonstrate with them, they laugh in your face. The only hold you have of them is their interest—you can but dismiss them from your employment; and service is no inheritance. If they effect anything like decent remorse, and hope you will pass it over, all the while they are probably trying to recover the wind of you. Persons of liberal knowledge or sentiments have no kind of chance in this sort of mixed intercourse with these barbarians in civilised life. You cannot tell, by any signs or principles, what is passing in their minds. There is no common point of view between you. You have not the same topics to refer to, the same language to express yourself. Your interests, your feelings are quite distinct. You take certain things for granted as rules of action: they take nothing for granted but their own ends, pick up all their knowledge out of their own occasions, are on the watch only for what they can catch—are