It was under this reign, says he, that the _Spectator_ published those little diurnal essays which are still extant. We know very little of the name or person of this author, except only that he was a man of a very short face, extremely addicted to silence, and so great a lover of knowledge, that he made a voyage to Grand Cairo for no other reason but to take the measure of a pyramid. His chief friend was one Sir Roger De Coverley, a whimsical country knight, and a Templar, whose name he has not transmitted to us. He lived as a lodger at the house of a widow-woman, and was a great humorist in all parts of his life. This is all we can affirm with any certainty of his person and character. As for his speculations, notwithstanding the several obsolete words and obscure phrases of the age in which he lived, we still understand enough of them to see the diversions and characters of the English nation in his time: not but that we are to make allowance for the mirth and humour of the author, who has doubtless strained many representations of things beyond the truth. For if we interpret his words in their literal meaning, we must suppose that women of the first quality used to pa.s.s away whole mornings at a puppet-show; that they attested their principles by their patches; that an audience would sit out an evening to hear a dramatical performance written in a language which they did not understand; that chairs and flower-pots were introduced as actors upon the British stage; that a promiscuous a.s.sembly of men and women were allowed to meet at midnight in masks within the verge of the Court; with many improbabilities of the like nature. We must therefore, in these and the like cases, suppose that these remote hints and allusions aimed at some certain follies which were then in vogue, and which at present we have not any notion of. We may guess by several pa.s.sages in the speculations, that there were writers who endeavoured to detract from the works of this author; but as nothing of this nature is come down to us, we cannot guess at any objections that could be made to his paper. If we consider his style with that indulgence which we must show to old English writers, or if we look into the variety of his subjects, with those several critical dissertations, moral reflections,

The following part of the paragraph is so much to my advantage, and beyond anything I can pretend to, that I hope my reader will excuse me for not inserting it.

THE ENGLISH LANGUAGE.

_Est brevitate opus_, _ut currat sententia_,

HOR., _Sat._ i. 10, 9.

Let brevity despatch the rapid thought.

I have somewhere read of an eminent person who used in his private offices of devotion to give thanks to Heaven that he was born a Frenchman: for my own part I look upon it as a peculiar blessing that I was born an Englishman. Among many other reasons, I think myself very happy in my country, as the language of it is wonderfully adapted to a man who is sparing of his words, and an enemy to loquacity.

As I have frequently reflected on my good fortune in this particular, I shall communicate to the public my speculations upon the English tongue, not doubting but they will be acceptable to all my curious readers.

The English delight in silence more than any other European nation, if the remarks which are made on us by foreigners are true. Our discourse is not kept up in conversation, but falls into more pauses and intervals than in our neighbouring countries; as it is observed that the matter of our writings is thrown much closer together, and lies in a narrower compa.s.s, than is usual in the works of foreign authors; for, to favour our natural taciturnity, when we are obliged to utter our thoughts we do it in the shortest way we are able, and give as quick a birth to our conceptions as possible.

This humour shows itself in several remarks that we may make upon the English language. As, first of all, by its abounding in monosyllables, which gives us an opportunity of delivering our thoughts in few sounds.

This indeed takes off from the elegance of our tongue, but at the same time expresses our ideas in the readiest manner, and consequently answers the first design of speech better than the mult.i.tude of syllables which make the words of other languages more tuneable and sonorous. The sounds of our English words are commonly like those of string music, short and transient, which rise and perish upon a single touch; those of other languages are like the notes of wind instruments, sweet and swelling, and lengthened out into variety of modulation.

In the next place we may observe that, where the words are not monosyllables, we often make them so, as much as lies in our power, by our rapidity of p.r.o.nunciation; as it generally happens in most of our long words which are derived from the Latin, where we contract the length of the syllables, that gives them a grave and solemn air in their own language, to make them more proper for despatch, and more conformable to the genius of our tongue. This we may find in a mult.i.tude of words, as "liberty," "conspiracy," "theatre," "orator," &c.

The same natural aversion to loquacity has of late years made a very considerable alteration in our language, by closing in one syllable the termination of our preterperfect tense, as in the words "drown'd,"

"walk'd," "arriv'd," for "drowned," "walked," "arrived," which has very much disfigured the tongue, and turned a tenth part of our smoothest words into so many cl.u.s.ters of consonants. This is the more remarkable because the want of vowels in our language has been the general complaint of our politest authors, who nevertheless are the men that have made these retrenchments, and consequently very much increased our former scarcity.

This reflection on the words that end in "ed" I have heard in conversation from one of the greatest geniuses this age has produced. I think we may add to the foregoing observation, the change which has happened in our language by the abbreviation of several words that are terminated in "eth," by subst.i.tuting an "s" in the room of the last syllable, as in "drowns," "walks," "arrives," and innumerable other words, which in the p.r.o.nunciation of our forefathers were "drowneth,"

"walketh," "arriveth." This has wonderfully multiplied a letter which was before too frequent in the English tongue, and added to that hissing in our language which is taken so much notice of by foreigners, but at the same time humours our taciturnity, and eases us of many superfluous syllables.

I might here observe that the same single letter on many occasions does the office of a whole word, and represents the "his" and "her" of our forefathers. There is no doubt but the ear of a foreigner, which is the best judge in this case, would very much disapprove of such innovations, which indeed we do ourselves in some measure, by retaining the old termination in writing, and in all the solemn offices of our religion.

As, in the instances I have given, we have epitomised many of our particular words to the detriment of our tongue, so on other occasions we have drawn two words into one, which has likewise very much untuned our language, and clogged it with consonants, as "mayn't," "can't," "shan't,"

"won't," and the like, for "may not," "can not," "shall not," "will not,"

&c.

It is perhaps this humour of speaking no more than we needs must which has so miserably curtailed some of our words, that in familiar writings and conversations they often lose all but their first syllables, as in "mob.," "rep.," "pos.," "incog.," and the like; and as all ridiculous words make their first entry into a language by familiar phrases, I dare not answer for these that they will not in time be looked upon as a part of our tongue. We see some of our poets have been so indiscreet as to imitate Hudibras's doggrel expressions in their serious compositions, by throwing out the signs of our substantives which are essential to the English language. Nay, this humour of shortening our language had once run so far, that some of our celebrated authors, among whom we may reckon Sir Roger L'Estrange in particular, began to prune their words of all superfluous letters, as they termed them, in order to adjust the spelling to the p.r.o.nunciation; which would have confounded all our etymologies, and have quite destroyed our tongue.

We may here likewise observe that our proper names, when familiarised in English, generally dwindle to monosyllables, whereas in other modern languages they receive a softer turn on this occasion, by the addition of a new syllable.--Nick, in Italian, is Nicolini; Jack, in French, Janot; and so of the rest.

There is another particular in our language which is a great instance of our frugality in words, and that is the suppressing of several particles which must be produced in other tongues to make a sentence intelligible.

This often perplexes the best writers, when they find the relatives "whom," "which," or "they," at their mercy, whether they may have admission or not; and will never be decided till we have something like an academy, that by the best authorities, and rules drawn from the a.n.a.logy of languages, shall settle all controversies between grammar and idiom.

I have only considered our language as it shows the genius and natural temper of the English, which is modest, thoughtful, and sincere, and which, perhaps, may recommend the people, though it has spoiled the tongue. We might, perhaps, carry the same thought into other languages, and deduce a great part of what is peculiar to them from the genius of the people who speak them. It is certain the light talkative humour of the French has not a little infected their tongue, which might be shown by many instances; as the genius of the Italians, which is so much addicted to music and ceremony, has moulded all their words and phrases to those particular uses. The stateliness and gravity of the Spaniards shows itself to perfection in the solemnity of their language; and the blunt, honest humour of the Germans sounds better in the roughness of the High-Dutch than it would in a politer tongue.

THE VISION OF MIRZA.

--_Omnem_, _quae nunc obducta tuenti_ _Mortales hebetat visus tibi_, _et humida circ.u.m_ _Caligat_, _nubem eripiam_.

VIRG., _AEn._ ii. 604.

The cloud, which, intercepting the clear light, Hangs o'er thy eyes, and blunts thy mortal sight, I will remove.

When I was at Grand Cairo, I picked up several Oriental ma.n.u.scripts, which I have still by me. Among others I met with one ent.i.tled "The Visions of Mirza," which I have read over with great pleasure. I intend to give it to the public when I have no other entertainment for them; and shall begin with the first vision, which I have translated word for word as follows:

"On the fifth day of the moon, which, according to the custom of my forefathers, I always keep holy, after having washed myself, and offered up my morning devotions, I ascended the high hills of Bagdad, in order to pa.s.s the rest of the day in meditation and prayer. As I was here airing myself on the tops of the mountains, I fell into a profound contemplation on the vanity of human life; and pa.s.sing from one thought to another, 'Surely,' said I, 'man is but a shadow, and life a dream.' Whilst I was thus musing, I cast my eyes towards the summit of a rock that was not far from me, where I discovered one in the habit of a shepherd, with a musical instrument in his hand. As I looked upon him he applied it to his lips, and began to play upon it. The sound of it was exceeding sweet, and wrought into a variety of tunes that were inexpressibly melodious, and altogether different from anything I had ever heard. They put me in mind of those heavenly airs that are played to the departed souls of good men upon their first arrival in Paradise, to wear out the impressions of their last agonies, and qualify them for the pleasures of that happy place. My heart melted away in secret raptures.

"I had been often told that the rock before me was the haunt of a genius, and that several had been entertained with music who had pa.s.sed by it, but never heard that the musician had before made himself visible. When he had raised my thoughts by those transporting airs which he played, to taste the pleasures of his conversation, as I looked upon him like one astonished, he beckoned to me, and, by the waving of his hand, directed me to approach the place where he sat. I drew near with that reverence which is due to a superior nature; and, as my heart was entirely subdued by the captivating strains I had heard, I fell down at his feet and wept.

The genius smiled upon me with a look of compa.s.sion and affability that familiarised him to my imagination, and at once dispelled all the fears and apprehensions with which I approached him. He lifted me from the ground, and, taking me by the hand, 'Mirza,' said he, 'I have heard thee in thy soliloquies; follow me.'

"He then led me to the highest pinnacle of the rock, and placing me on the top of it, 'Cast thy eyes eastward,' said he, 'and tell me what thou seest.' 'I see,' said I, 'a huge valley, and a prodigious tide of water rolling through it.' 'The valley that thou seest,' said he, 'is the Vale of Misery, and the tide of water that thou seest is part of the great tide of Eternity.' 'What is the reason,' said I, 'that the tide I see rises out of a thick mist at one end, and again loses itself in a thick mist at the other?' 'What thou seest,' said he, 'is that portion of Eternity which is called Time, measured out by the sun, and reaching from the beginning of the world to its consummation. Examine now,' said he, 'this sea that is bounded with darkness at both ends, and tell me what thou discoverest in it.' 'I see a bridge,' said I, 'standing in the midst of the tide.' 'The bridge thou seest,' said he, 'is Human Life; consider it attentively.' Upon a more leisurely survey of it, I found that it consisted of threescore and ten entire arches, with several broken arches, which, added to those that were entire, made up the number about a hundred. As I was counting the arches, the genius told me that this bridge consisted at first of a thousand arches; but that a great flood swept away the rest, and left the bridge in the ruinous condition I now beheld it. 'But tell me further,' said he, 'what thou discoverest on it.' 'I see mult.i.tudes of people pa.s.sing over it,' said I, 'and a black cloud hanging on each end of it.' As I looked more attentively, I saw several of the pa.s.sengers dropping through the bridge into the great tide that flowed underneath it; and, upon further examination, perceived there were innumerable trap-doors that lay concealed in the bridge, which the pa.s.sengers no sooner trod upon but they fell through them into the tide, and immediately disappeared. These hidden pit-falls were set very thick at the entrance of the bridge, so that throngs of people no sooner broke through the cloud but many of them fell into them. They grew thinner towards the middle, but multiplied and lay closer together towards the end of the arches that were entire.

"There were indeed some persons, but their number was very small, that continued a kind of hobbling march on the broken arches, but fell through one after another, being quite tired and spent with so long a walk.

"I pa.s.sed some time in the contemplation of this wonderful structure, and the great variety of objects which it presented. My heart was filled with a deep melancholy to see several dropping unexpectedly in the midst of mirth and jollity, and catching at everything that stood by them to save themselves. Some were looking up towards the heavens in a thoughtful posture, and in the midst of a speculation stumbled and fell out of sight. Mult.i.tudes were very busy in the pursuit of bubbles that glittered in their eyes and danced before them; but often when they thought themselves within the reach of them, their footing failed and down they sunk. In this confusion of objects, I observed some with scimitars in their hands, who ran to and fro from the bridge, thrusting several persons on trapdoors which did not seem to lie in their way, and which they might have escaped had they not been thus forced upon them.

"The genius, seeing me indulge myself on this melancholy prospect, told me I had dwelt long enough upon it. 'Take thine eyes off the bridge,'

said he, 'and tell me if thou yet seest anything thou dost not comprehend.' Upon looking up, 'What mean,' said I, 'those great flights of birds that are perpetually hovering about the bridge, and settling upon it from time to time? I see vultures, harpies, ravens, cormorants, and among many other feathered creatures, several little winged boys, that perch in great numbers upon the middle arches.' 'These,' said the genius, 'are Envy, Avarice, Superst.i.tion, Despair, Love, with the like cares and pa.s.sions that infest human life.'

"I here fetched a deep sigh. 'Alas,' said I, 'man was made in vain! how is he given away to misery and mortality! tortured in life, and swallowed up in death!' The genius, being moved with compa.s.sion towards me, bade me quit so uncomfortable a prospect. 'Look no more,' said he, 'on man in the first stage of his existence, in his setting out for Eternity; but cast thine eye on that thick mist into which the tide bears the several generations of mortals that fall into it.' I directed my sight as I was ordered, and, whether or no the good genius strengthened it with any supernatural force, or dissipated part of the mist that was before too thick for the eye to penetrate, I saw the valley opening at the further end, and spreading forth into an immense ocean, that had a huge rock of adamant running through the midst of it, and dividing it into two equal parts. The clouds still rested on one half of it, insomuch that I could discover nothing in it; but the other appeared to me a vast ocean planted with innumerable islands, that were covered with fruits and flowers, and interwoven with a thousand little shining seas that ran among them. I could see persons dressed in glorious habits, with garlands upon their heads, pa.s.sing among the trees, lying down by the sides of fountains, or resting on beds of flowers; and could hear a confused harmony of singing birds, falling waters, human voices, and musical instruments. Gladness grew in me upon the discovery of so delightful a scene. I wished for the wings of an eagle, that I might fly away to those happy seats; but the genius told me there was no pa.s.sage to them, except through the gates of death that I saw opening every moment upon the bridge. 'The islands,'

said he, 'that lie so fresh and green before thee, amid with which the whole face of the ocean appears spotted as far as thou canst see, are more in number than the sands on the sea-sh.o.r.e: there are myriads of islands behind those which thou here discoverest, reaching further than thine eye, or even thine imagination can extend itself. These are the mansions of good men after death, who, according to the degree and kinds of virtue in which they excelled, are distributed among those several islands, which abound with pleasures of different kinds and degrees, suitable to the relishes and perfections of those who are settled in them: every island is a paradise accommodated to its respective inhabitants. Are not these, O Mirza, habitations worth contending for?

Does life appear miserable that gives thee opportunities of earning such a reward? Is death to be feared that will convey thee to so happy an existence? Think not man was made in vain, who has such an Eternity reserved for him.' I gazed with inexpressible pleasure on these happy islands. At length, said I, 'Show me now, I beseech thee, the secrets that lie hid under those dark clouds which cover the ocean on the other side of the rock of adamant.' The genius making me no answer, I turned about to address myself to him a second time, but I found that he had left me; I then turned again to the vision which I had been so long contemplating: but instead of the rolling tide, the arched bridge, and the happy islands, I saw nothing but the long hollow valley of Bagdad, with oxen, sheep, and camels grazing upon the sides of it."

GENIUS.

--_Cui mens divinior_, _atque os_ _Magna sonaturum des nominis hujus honorem_.

HOR., _Sat._ i. 4, 43.

On him confer the poet's sacred name, Whose lofty voice declares the heavenly flame.

There is no character more frequently given to a writer than that of being a genius. I have heard many a little sonneteer called a fine genius. There is not a heroic scribbler in the nation that has not his admirers who think him a great genius; and as for your smatterers in tragedy, there is scarce a man among them who is not cried up by one or other for a prodigious genius.

My design in this paper is to consider what is properly a great genius, and to throw some thoughts together on so uncommon a subject.

Among great geniuses those few draw the admiration of all the world upon them, and stand up as the prodigies of mankind, who, by the mere strength of natural parts, and without any a.s.sistance of art or learning, have produced works that were the delight of their own times and the wonder of posterity. There appears something n.o.bly wild and extravagant in these great natural geniuses, that is infinitely more beautiful than all turn and polishing of what the French call a _bel esprit_, by which they would express a genius refined by conversation, reflection, and the reading of the most polite authors. The greatest genius which runs through the arts and sciences takes a kind of tincture from them and falls unavoidably into imitation.