Rousseau in his Confessions relates, that when he took possession of his room at Annecy, he found that he could see "a little spot of green"

from his window, which endeared his situation the more to him, because, he says, it was the first time he had had this object constantly before him since he left Boissy, the place where he was at school when a child.

[7] Some such feeling as that here described will be found lurking at the bottom of all our attachments of this sort. Were it not for the recollections habitually a.s.sociated with them, natural objects could not interest the mind in the manner they do. No doubt, the sky is beautiful, the clouds sail majestically along its bosom; the sun is cheering; there is something exquisitely graceful in the manner in which a plant or tree puts forth its branches; the motion with which they bend and tremble in the evening breeze is soft and lovely; there is music in the babbling of a brook; the view from the top of a mountain is full of grandeur; nor can we behold the ocean with indifference. Or, as the Minstrel sweetly sings,

"Oh, how canst thou renounce the boundless store Of charms which Nature to her votary yields!

The warbling woodland, the resounding sh.o.r.e, The pomp of groves, and garniture of fields; All that the genial ray of morning gilds, And all that echoes to the song of even, All that the mountain's sheltering bosom shields, And all the dread magnificence of heaven, Oh, how canst thou renounce, and hope to be forgiven!"

___ [7] Pope also declares that he had a particular regard for an old post which stood in the court-yard before the house where he was brought up.

___

It is not, however, the beautiful and magnificent alone that we admire in Nature; the most insignificant and rudest objects are often found connected with the strongest emotions; we become attached to the most common and familiar images, as to the face of a friend whom we have long known, and from whom we have received many benefits. It is because natural objects have been a.s.sociated with the sports of our childhood, with air and exercise, with our feelings in solitude, when the mind takes the strongest hold of things, and clings with the fondest interest to whatever strikes its attention; with change of place, the pursuit of new scenes, and thoughts of distant friends; it is because they have surrounded us in almost all situations, in joy and in sorrow, in pleasure and in pain; because they have been one chief source and nourishment of our feelings, and a part of our being, that we love them as we do ourselves.

There is, generally speaking, the same foundation for our love of Nature as for all our habitual attachments, namely, a.s.sociation of ideas. But this is not all. That which distinguishes this attachment from others is the transferable nature of our feelings with respect to physical objects; the a.s.sociations connected with any one object extending to the whole cla.s.s. Our having been attached to any particular person does not make us feel the same attachment to the next person we may chance to meet; but, if we have once a.s.sociated strong feelings of delight with the objects of natural scenery, the tie becomes indissoluble, and we shall ever after feel the same attachment to other objects of the same sort. I remember when I was abroad, the trees, and gra.s.s, and wet leaves, rustling in the walks of the Thuilleries, seemed to be as much English, to be as much the same trees and gra.s.s, that I had always been used to, as the sun shining over my head was the same sun which I saw in England; the faces only were foreign to me. Whence comes this difference? It arises from our always imperceptibly connecting the idea of the individual with man, and only the idea of the cla.s.s with natural objects. In the one case, the external appearance or physical structure is the least thing to be attended to; in the other, it is every thing. The springs that move the human form, and make it friendly or adverse to me, lie hid within it. There is an infinity of motives, pa.s.sions, and ideas, contained in that narrow compa.s.s, of which I know nothing, and in which I have no share. Each individual is a world to himself, governed by a thousand contradictory and wayward impulses. I can, therefore, make no inference from one individual to another; nor can my habitual sentiments, with respect to any individual, extend beyond himself to others. A crowd of people presents a disjointed, confused, and unsatisfactory appearance to the eye, because there is nothing to connect the motley a.s.semblage into one continuous or general impression, unless when there is some common object of interest to fix their attention, as in the case of a full pit at the play-house. The same principle will also account for that feeling of littleness, vacuity, and perplexity, which a stranger feels on entering the streets of a populous city. Every individual he meets is a blow to his personal ident.i.ty. Every new face is a teazing, unanswered riddle. He feels the same wearisome sensation in walking from Oxford Street to Temple Bar, as a person would do who should be compelled to read through the first leaf of all the volumes in a library. But it is otherwise with respect to nature. A flock of sheep is not a contemptible, but a beautiful sight.

The greatest number and variety of physical objects do not puzzle the will, or distract the attention, but are ma.s.sed together under one uniform and harmonious feeling. The heart reposes in greater security on the immensity of Nature's works, "expatiates freely there," and finds elbow room and breathing s.p.a.ce. We are always at home with Nature. There is neither hypocrisy, caprice, nor mental reservation in her favours.

Our intercourse with her is not liable to accident or change, suspicion or disappointment: she smiles on us still the same. A rose is always sweet, a lily is always beautiful: we do not hate the one, nor envy the other. If we have once enjoyed the cool shade of a tree, and been lulled into a deep repose by the sound of a brook running at its foot, we are sure that wherever we can find a shady stream, we can enjoy the same pleasure again; so that when we imagine these objects, we can easily form a mystic personification of the friendly power that inhabits them, Dryad or Naiad, offering its cool fountain or its tempting shade. Hence the origin of the Grecian mythology. All objects of the same kind being the same, not only in their appearance, but in their practical uses, we habitually confound them together under the same general idea; and whatever fondness we may have conceived for one, is immediately placed to the common account. The most opposite kinds and remote trains of feeling gradually go to enrich the same sentiment; and in our love of nature, there is all the force of individual attachment, combined with the most airy abstraction. It is this circ.u.mstance which gives that refinement, expansion, and wild interest, to feelings of this sort, when strongly excited, which every one must have experienced who is a true lover of nature.

It is the same setting sun that we see and remember year after year, through summer and winter, seed-time and harvest. The moon that shines above our heads, or plays through the checquered shade, is the same moon that we used to read of in Mrs. Radcliffe's romances. We see no difference in the trees first covered with leaves in the spring. The dry reeds rustling on the side of a stream--the woods swept by the loud blast--the dark ma.s.sy foliage of autumn--the grey trunks and naked branches of the trees in winter--the sequestered copse, and wide-extended heath--the glittering sunny showers, and December snows --are still the same, or accompanied with the same thoughts and feelings: there is no object, however trifling or rude, that does not in some mood or other find its way into the heart, as a link in the chain of our living being; and this it is that makes good that saying of the poet--

"To me the meanest flower that blows can give Thoughts that do often lie too deep for tears."

Thus nature is a kind of universal home, and every object it presents to us an old acquaintance with unaltered looks; for there is that consent and mutual harmony among all her works, one undivided spirit pervading them throughout, that to him who has well acquainted himself with them, they speak always the same well-known language, striking on the heart, amidst unquiet thoughts and the tumult of the world, like the music of one's native tongue heard in some far-off country.

"My heart leaps up when I behold A rainbow in the sky: So was it when my life began, So is it now I am a man, So shall it be when I grow old and die.

The child's the father of the man, And I would have my years to be Linked each to each by natural piety."

The daisy that first strikes the child's eye in trying to leap over his own shadow, is the same flower that with timid upward glance implores the grown man not to tread upon it. Rousseau, in one of his botanical excursions, meeting with the periwinkle, fell upon his knees, crying out--_Ah! voila de la pervenche!_ It was because he had thirty years before brought home the same flower with him in one of his rambles with Madame de Warens, near Chambery. It struck him as the same identical little blue flower that he remembered so well; and thirty years of sorrow and bitter regret were effaced from his memory. That, or a thousand other flowers of the same name, were the same to him, to the heart, and to the eye; but there was but one Madame Warens in the world, whose image was never absent from his thoughts; with whom flowers and verdure sprung up beneath his feet, and without whom all was cold and barren in nature and in his own breast. The cuckoo, "that wandering voice," that comes and goes with the spring, mocks our ears with one note from youth to age; and the lapwing, screaming round the traveller's path, repeats for ever the same sad story of Tereus and Philomel!

LECTURE VI.

ON SWIFT, YOUNG, GRAY, COLLINS, &c.

I shall in the present Lecture go back to the age of Queen Anne, and endeavour to give a cursory account of the most eminent of our poets, of whom I have not already spoken, from that period to the present.

The three princ.i.p.al poets among the wits of Queen Anne's reign, next to Pope, were Prior, Swift, and Gay. Parnell, though a good-natured, easy man, and a friend to poets and the Muses, was himself little more than an occasional versifier; and Arbuthnot, who had as much wit as the best of them, chose to shew it in prose, and not in verse. He had a very notable share in the immortal History of John Bull, and the inimitable and praiseworthy Memoirs of Martinus Scriblerus. There has been a great deal said and written about the plagiarisms of Sterne; but the only real plagiarism he has been guilty of (if such theft were a crime), is in taking Tristram Shandy's father from Martin's, the elder Scriblerus. The original idea of the character, that is, of the opinionated, captious old gentleman, who is pedantic, not from profession, but choice, belongs to Arbuthnot.--Arbuthnot's style is distinguished from that of his contemporaries, even by a greater degree of terseness and conciseness.

He leaves out every superfluous word; is sparing of connecting particles, and introductory phrases; uses always the simplest forms of construction; and is more a master of the idiomatic peculiarities and internal resources of the language than almost any other writer. There is a research in the choice of a plain, as well as of an ornamented or learned style; and, in fact, a great deal more. Among common English words, there may be ten expressing the same thing with different degrees of force and propriety, and only one of them the very word we want, because it is the only one that answers exactly with the idea we have in our minds. Each word in familiar use has a different set of a.s.sociations and shades of meaning attached to it, and distinguished from each other by inveterate custom; and it is in having the whole of these at our command, and in knowing which to choose, as they are called for by the occasion, that the perfection of a pure conversational prose-style consists. But in writing a florid and artificial style, neither the same range of invention, nor the same quick sense of propriety--nothing but learning is required. If you know the words, and their general meaning, it is sufficient: it is impossible you should know the nicer inflections of signification, depending on an endless variety of application, in expressions borrowed from a foreign or dead language. They all impose upon the ear alike, because they are not familiar to it; the only distinction left is between the pompous and the plain; the _sesquipedalia verba_ have this advantage, that they are all of one length; and any words are equally fit for a learned style, so that we have never heard them before. Themistocles thought that the same sounding epithets could not suit all subjects, as the same dress does not fit all persons. The style of our modern prose writers is very fine in itself; but it wants variety of inflection and adaptation; it hinders us from seeing the differences of the things it undertakes to describe.

What I have here insisted on will be found to be the leading distinction between the style of Swift, Arbuthnot, Steele, and the other writers of the age of Queen Anne, and the style of Dr. Johnson, which succeeded to it. The one is English, and the other is not. The writers first mentioned, in order to express their thoughts, looked about them for the properest word to convey any idea, that the language which they spoke, and which their countrymen understood, afforded: Dr. Johnson takes the first English word that offers, and by translating it at a venture into the first Greek or Latin word he can think of, only retaining the English termination, produces an extraordinary effect upon the reader, by much the same sort of mechanical process that Trim converted the old jack-boots into a pair of new mortars.

Dr. Johnson was a lazy learned man, who liked to think and talk, better than to read or write; who, however, wrote much and well, but too often by rote. His long compound Latin phrases required less thought, and took up more room than others. What shews the facilities afforded by this style of imposing generalization, is, that it was instantly adopted with success by all those who were writers by profession, or who were not; and that at present, we cannot see a lottery puff or a quack advertis.e.m.e.nt pasted against a wall, that is not perfectly Johnsonian in style. Formerly, the learned had the privilege of translating their notions into Latin; and a great privilege it was, as it confined the reputation and emoluments of learning to themselves. Dr. Johnson may be said to have naturalised this privilege, by inventing a sort of jargon translated half-way out of one language into the other, which raised the Doctor's reputation, and confounded all ranks in literature.

In the short period above alluded to, authors professed to write as other men spoke; every body now affects to speak as authors write; and any one who retains the use of his mother tongue, either in writing or conversation, is looked upon as a very illiterate character.

Prior and Gay belong, in the characteristic excellences of their style, to the same cla.s.s of writers with Suckling, Rochester, and Sedley: the former imbibed most of the licentious levity of the age of Charles II. and carried it on beyond the Revolution under King William.

Prior has left no single work equal to Gay's Fables, or the Beggar's Opera. But in his lyrical and fugitive pieces he has shown even more genius, more playfulness, more mischievous gaiety. No one has exceeded him in the laughing grace with which he glances at a subject that will not bear examining, with which he gently hints at what cannot be directly insisted on, with which he half conceals, and half draws aside the veil from some of the Muses' nicest mysteries. His Muse is, in fact, a giddy wanton flirt, who spends her time in playing at snap-dragon and blind-man's buff, who tells what she should not, and knows more than she tells. She laughs at the tricks she shews us, and blushes, or would be thought to do so, at what she keeps concealed. Prior has translated several of Fontaine's Tales from the French; and they have lost nothing in the translation, either of their wit or malice. I need not name them: but the one I like the most, is that of Cupid in search of Venus's doves. No one could insinuate a knavish plot, a tender point, a loose moral, with such unconscious archness, and careless raillery, as if he gained new self-possession and adroitness from the perplexity and confusion into which he throws scrupulous imaginations, and knew how to seize on all the ticklish parts of his subject, from their involuntarily shrinking under his grasp. Some of his imitations of Boileau's servile addresses to Louis XIV. which he has applied with a happy mixture of wit and patriotic enthusiasm to King William, or as he familiarly calls him, to

"Little Will, the scourge of France, No G.o.dhead, but the first of men,"

are excellent, and shew the same talent for _double-entendre_ and the same gallantry of spirit, whether in the softer lyric, or the more lively heroic. Some of Prior's _bon mots_ are the best that are recorded.--His serious poetry, as his _Solomon_, is as heavy as his familiar style was light and agreeable. His moral Muse is a Magdalen, and should not have obtruded herself on public view. Henry and Emma is a paraphrase of the old ballad of the Nut-brown Maid, and not so good as the original. In short, as we often see in other cases, where men thwart their own genius, Prior's sentimental and romantic productions are mere affectation, the result not of powerful impulse or real feeling, but of a consciousness of his deficiencies, and a wish to supply their place by labour and art.

Gay was sometimes grosser than Prior, not systematically, but inadvertently--from not being so well aware of what he was about; nor was there the same necessity for caution, for his grossness is by no means so seductive or inviting.

Gay's Fables are certainly a work of great merit, both as to the quant.i.ty of invention implied, and as to the elegance and facility of the execution. They are, however, spun out too long; the descriptions and narrative are too diffuse and desultory; and the moral is sometimes without point. They are more like Tales than Fables. The best are, perhaps, the Hare with Many Friends, the Monkeys, and the Fox at the Point of Death. His Pastorals are pleasing and poetical. But his capital work is his Beggar's Opera. It is indeed a masterpiece of wit and genius, not to say of morality. In composing it, he chose a very unpromising ground to work upon, and he has prided himself in adorning it with all the graces, the precision, and brilliancy of style. It is a vulgar error to call this a vulgar play. So far from it, that I do not scruple to say that it appears to me one of the most refined productions in the language. The elegance of the composition is in exact proportion to the coa.r.s.eness of the materials: by "happy alchemy of mind," the author has extracted an essence of refinement from the dregs of human life, and turns its very dross into gold. The scenes, characters, and incidents are, in themselves, of the lowest and most disgusting kind: but, by the sentiments and reflections which are put into the mouths of highwaymen, turnkeys, their mistresses, wives, or daughters, he has converted this motley group into a set of fine gentlemen and ladies, satirists and philosophers. He has also effected this transformation without once violating probability, or "o'erstepping the modesty of nature." In fact, Gay has turned the tables on the critics; and by the a.s.sumed licence of the mock-heroic style, has enabled himself to _do justice to nature_, that is, to give all the force, truth, and locality of real feeling to the thoughts and expressions, without being called to the bar of false taste and affected delicacy. The extreme beauty and feeling of the song, "Woman is like the fair flower in its l.u.s.tre," are only equalled by its characteristic propriety and _naivete_. _Polly_ describes her lover going to the gallows, with the same touching simplicity, and with all the natural fondness of a young girl in her circ.u.mstances, who sees in his approaching catastrophe nothing but the misfortunes and the personal accomplishments of the object of her affections. "I see him sweeter than the nosegay in his hand; the admiring crowd lament that so lovely a youth should come to an untimely end:--even butchers weep, and Jack Ketch refuses his fee rather than consent to tie the fatal knot." The preservation of the character and costume is complete. It has been said by a great authority--"There is some soul of goodness in things evil":--and the _Beggar's Opera_ is a good-natured but instructive comment on this text. The poet has thrown all the gaiety and sunshine of the imagination, all the intoxication of pleasure, and the vanity of despair, round the shortlived existence of his heroes; while _Peachum_ and _Lockitt_ are seen in the back-ground, parcelling out their months and weeks between them. The general view exhibited of human life is of the most subtle and abstracted kind. The author has, with great felicity, brought out the good qualities and interesting emotions almost inseparable from the lowest conditions; and with the same penetrating glance, has detected the disguises which rank and circ.u.mstances lend to exalted vice. Every line in this sterling comedy sparkles with wit, and is fraught with the keenest sarcasm. The very wit, however, takes off from the offensiveness of the satire; and I have seen great statesmen, very great statesmen, heartily enjoying the joke, laughing most immoderately at the compliments paid to them as not much worse than pickpockets and cut-throats in a different line of life, and pleased, as it were, to see themselves humanised by some sort of fellowship with their kind. Indeed, it may be said that the moral of the piece is _to shew the vulgarity of vice_; or that the same violations of integrity and decorum, the same habitual sophistry in palliating their want of principle, are common to the great and powerful, with the meanest and most contemptible of the species. What can be more convincing than the arguments used by these would-be politicians, to shew that in hypocrisy, selfishness, and treachery, they do not come up to many of their betters? The exclamation of _Mrs. Peachum_, when her daughter marries _Macheath_, "Hussy, hussy, you will be as ill used, and as much neglected, as if you had married a lord," is worth all Miss Hannah More's laboured invectives on the laxity of the manners of high life!

I shall conclude this account of Gay with his verses on Sir Richard Blackmore, which may serve at once as a specimen of his own manner, and as a character of a voluminous contemporary poet, who was admired by Mr.

Locke, and knighted by King William III.

"See who ne'er was nor will be half-read, Who first sung Arthur, then sung Alfred; Praised great Eliza in G.o.d's anger, Till all true Englishmen cried, 'Hang her!'-- Maul'd human wit in one thick satire; Next in three books spoil'd human nature: Undid Creation at a jerk, And of Redemption made d.a.m.n'd work.

Then took his Muse at once, and dipt her Full in the middle of the Scripture.

What wonders there the man, grown old, did?

Sternhold himself he out Sternholded.

Made David seem so mad and freakish, All thought him just what thought King Achish.

No mortal read his Solomon But judg'd Re'boam his own son.

Moses he serv'd as Moses Pharaoh, And Deborah as she Siserah, Made Jeremy full sore to cry, And Job himself curse G.o.d and die.

What punishment all this must follow?

Shall Arthur use him like King Tollo?

Shall David as Uriah slay him?

Or dextrous Deborah Siserah him?

No!--none of these! Heaven spare his life!

But send him, honest Job, thy wife!"

Gay's Trivia, or Art of Walking the Streets, is as pleasant as walking the streets must have been at the time when it was written. His ballad of Black Eyed Susan is one of the most delightful that can be imagined; nor do I see that it is a bit the worse for Mr. Jekyll's parody on it.

Swift's reputation as a poet has been in a manner obscured by the greater splendour, by the natural force and inventive genius of his prose writings; but if he had never written either the Tale of a Tub or Gulliver's Travels, his name merely as a poet would have come down to us, and have gone down to posterity with well earned honours. His Imitations of Horace, and still more his Verses on his own Death, place him in the first rank of agreeable moralists in verse. There is not only a dry humour, an exquisite tone of irony, in these productions of his pen; but there is a touching, unpretending pathos, mixed up with the most whimsical and eccentric strokes of pleasantry and satire. His Description of the Morning in London, and of a City Shower, which were first published in the Tatler, are among the most delightful of the contents of that very delightful work. Swift shone as one of the most sensible of the poets; he is also distinguished as one of the most nonsensical of them. No man has written so many lack-a-daisical, slip-shod, tedious, trifling, foolish, fantastical verses as he, which are so little an imputation on the wisdom of the writer; and which, in fact, only shew his readiness to oblige others, and to forget himself.

He has gone so far as to invent a new stanza of fourteen and sixteen syllable lines for Mary the cookmaid to vent her budget of nothings, and for Mrs. Harris to gossip with the deaf old housekeeper. Oh, when shall we have such another Rector of Laracor!--The Tale of a Tub is one of the most masterly compositions in the language, whether for thought, wit, or style. It is so capital and undeniable a proof of the author's talents, that Dr. Johnson, who did not like Swift, would not allow that he wrote it. It is hard that the same performance should stand in the way of a man's promotion to a bishopric, as wanting gravity, and at the same time be denied to be his, as having too much wit. It is a pity the Doctor did not find out some graver author, for whom he felt a critical kindness, on whom to father this splendid but unacknowledged production.

Dr. Johnson could not deny that Gulliver's Travels were his; he therefore disputed their merits, and said that after the first idea of them was conceived, they were easy to execute; all the rest followed mechanically. I do not know how that may be; but the mechanism employed is something very different from any that the author of Ra.s.selas was in the habit of bringing to bear on such occasions. There is nothing more futile, as well as invidious, than this mode of criticising a work of original genius. Its greatest merit is supposed to be in the invention; and you say, very wisely, that it is not _in the execution_. You might as well take away the merit of the invention of the telescope, by saying that, after its uses were explained and understood, any ordinary eyesight could look through it. Whether the excellence of Gulliver's Travels is in the conception or the execution, is of little consequence; the power is somewhere, and it is a power that has moved the world. The power is not that of big words and vaunting common places. Swift left these to those who wanted them; and has done what his acuteness and intensity of mind alone could enable any one to conceive or to perform.

His object was to strip empty pride and grandeur of the imposing air which external circ.u.mstances throw around them; and for this purpose he has cheated the imagination of the illusions which the prejudices of sense and of the world put upon it, by reducing every thing to the abstract predicament of size. He enlarges or diminishes the scale, as he wishes to shew the insignificance or the grossness of our overweening self-love. That he has done this with mathematical precision, with complete presence of mind and perfect keeping, in a manner that comes equally home to the understanding of the man and of the child, does not take away from the merit of the work or the genius of the author. He has taken a new view of human nature, such as a being of a higher sphere might take of it; he has torn the scales from off his moral vision; he has tried an experiment upon human life, and sifted its pretensions from the alloy of circ.u.mstances; he has measured it with a rule, has weighed it in a balance, and found it, for the most part, wanting and worthless --in substance and in shew. Nothing solid, nothing valuable is left in his system but virtue and wisdom. What a libel is this upon mankind!

What a convincing proof of misanthropy! What presumption and what _malice prepense_, to shew men what they are, and to teach them what they ought to be! What a mortifying stroke aimed at national glory, is that unlucky incident of Gulliver's wading across the channel and carrying off the whole fleet of Blefuscu! After that, we have only to consider which of the contending parties was in the right. What a shock to personal vanity is given in the account of Gulliver's nurse Glumdalc.l.i.tch! Still, notwithstanding the disparagement to her personal charms, her good-nature remains the same amiable quality as before. I cannot see the harm, the misanthropy, the immoral and degrading tendency of this. The moral lesson is as fine as the intellectual exhibition is amusing. It is an attempt to tear off the mask of imposture from the world; and nothing but imposture has a right to complain of it. It is, indeed, the way with our quacks in morality to preach up the dignity of human nature, to pamper pride and hypocrisy with the idle mockeries of the virtues they pretend to, and which they have not: but it was not Swift's way to cant morality, or any thing else; nor did his genius prompt him to write unmeaning panegyrics on mankind!

I do not, therefore, agree with the estimate of Swift's moral or intellectual character, given by an eminent critic, who does not seem to have forgotten the party politics of Swift. I do not carry my political resentments so far back: I can at this time of day forgive Swift for having been a Tory. I feel little disturbance (whatever I might think of them) at his political sentiments, which died with him, considering how much else he has left behind him of a more solid and imperishable nature! If he had, indeed, (like some others) merely left behind him the lasting infamy of a destroyer of his country, or the shining example of an apostate from liberty, I might have thought the case altered.

The determination with which Swift persisted in a preconcerted theory, savoured of the morbid affection of which he died. There is nothing more likely to drive a man mad, than the being unable to get rid of the idea of the distinction between right and wrong, and an obstinate, const.i.tutional preference of the true to the agreeable. Swift was not a Frenchman. In this respect he differed from Rabelais and Voltaire. They have been accounted the three greatest wits in modern times; but their wit was of a peculiar kind in each. They are little beholden to each other; there is some resemblance between Lord Peter in the Tale of a Tub, and Rabelais' Friar John; but in general they are all three authors of a substantive character in themselves. Swift's wit (particularly in his chief prose works) was serious, saturnine, and practical; Rabelais' was fantastical and joyous; Voltaire's was light, sportive, and verbal. Swift's wit was the wit of sense; Rabelais', the wit of nonsense; Voltaire's, of indifference to both. The ludicrous in Swift arises out of his keen sense of impropriety, his soreness and impatience of the least absurdity. He separates, with a severe and caustic air, truth from falsehood, folly from wisdom, "shews vice her own image, scorn her own feature"; and it is the force, the precision, and the honest abruptness with which the separation is made, that excites our surprise, our admiration, and laughter. He sets a mark of reprobation on that which offends good sense and good manners, which cannot be mistaken, and which holds it up to our ridicule and contempt ever after. His occasional disposition to trifling (already noticed) was a relaxation from the excessive earnestness of his mind. _Indignatio facit versus_. His better genius was his spleen. It was the biting acrimony of his temper that sharpened his other faculties. The truth of his perceptions produced the pointed coruscations of his wit; his playful irony was the result of inward bitterness of thought; his imagination was the product of the literal, dry, incorrigible tenaciousness of his understanding. He endeavoured to escape from the persecution of realities into the regions of fancy, and invented his Lilliputians and Brobdingnagians, Yahoos, and Houynhyms, as a diversion to the more painful knowledge of the world around him: _they_ only made him laugh, while men and women made him angry. His feverish impatience made him view the infirmities of that great baby the world, with the same scrutinizing glance and jealous irritability that a parent regards the failings of its offspring; but, as Rousseau has well observed, parents have not on this account been supposed to have more affection for other people's children than their own. In other respects, and except from the sparkling effervescence of his gall, Swift's brain was as "dry as the remainder biscuit after a voyage." He hated absurdity-- Rabelais loved it, exaggerated it with supreme satisfaction, luxuriated in its endless varieties, rioted in nonsense, "reigned there and revelled." He dwelt on the absurd and ludicrous for the pleasure they gave him, not for the pain. He lived upon laughter, and died laughing.

He indulged his vein, and took his full swing of folly. He did not baulk his fancy or his readers. His wit was to him "as riches fineless"; he saw no end of his wealth in that way, and set no limits to his extravagance: he was communicative, prodigal, boundless, and inexhaustible. His were the Saturnalia of wit, the riches and the royalty, the health and long life. He is intoxicated with gaiety, mad with folly. His animal spirits drown him in a flood of mirth: his blood courses up and down his veins like wine. His thirst of enjoyment is as great as his thirst of drink: his appet.i.te for good things of all sorts is unsatisfied, and there is a never-ending supply. _Discourse is dry_; so they moisten their words in their cups, and relish their dry jests with plenty of Botargos and dried neats' tongues. It is like Camacho's wedding in Don Quixote, where Sancho ladled out whole pullets and fat geese from the soup-kettles at a pull. The flagons are setting a running, their tongues wag at the same time, and their mirth flows as a river.

How Friar John roars and lays about him in the vineyard! How Panurge whines in the storm, and how dexterously he contrives to throw the sheep overboard! How much Pantagruel behaves like a wise king! How Gargantua mewls, and pules [sic], and slabbers his nurse, and demeans himself most like a royal infant! what provinces he devours! what seas he drinks up! How he eats, drinks, and sleeps--sleeps, eats, and drinks! The style of Rabelais is no less prodigious than his matter. His words are of marrow, unctuous, dropping fatness. He was a mad wag, the king of good fellows, and prince of practical philosophers!

Rabelais was a Frenchman of the old school--Voltaire of the new.

The wit of the one arose from an exuberance of enjoyment--of the other, from an excess of indifference, real or a.s.sumed. Voltaire had no enthusiasm for one thing or another: he made light of every thing. In his hands all things turn to chaff and dross, as the pieces of silver money in the Arabian Nights were changed by the hands of the enchanter into little dry crumbling leaves! He is a Parisian. He never exaggerates, is never violent: he treats things with the most provoking _sang froid_; and expresses his contempt by the most indirect hints, and in the fewest words, as if he hardly thought them worth even his contempt. He retains complete possession of himself and of his subject.

He does not effect his purpose by the eagerness of his blows, but by the delicacy of his tact. The poisoned wound he inflicted was so fine, as scarcely to be felt till it rankled and festered in its "mortal consequences." His callousness was an excellent foil for the antagonists he had mostly to deal with. He took knaves and fools on his shield well.

He stole away its cloak from grave imposture. If he reduced other things below their true value, making them seem worthless and hollow, he did not degrade the pretensions of tyranny and superst.i.tion below their true value, by making them seem utterly worthless and hollow, as contemptible as they were odious. This was the service he rendered to truth and mankind! His _Candide_ is a masterpiece of wit. It has been called "the dull product of a scoffer's pen"; it is indeed the "product of a scoffer's pen"; but after reading the Excursion, few people will think it _dull_. It is in the most perfect keeping, and without any appearance of effort. Every sentence tells, and the whole reads like one sentence.

There is something sublime in Martin's sceptical indifference to moral good and evil. It is the repose of the grave. It is better to suffer this living death, than a living martyrdom. "Nothing can touch him further." The moral of Candide (such as it is) is the same as that of Ra.s.selas: the execution is different. Voltaire says, "A great book is a great evil." Dr. Johnson would have laboured this short apophthegm into a voluminous common-place. Voltaire's traveller (in another work) being asked "whether he likes black or white mutton best," replies that "he is indifferent, provided it is tender." Dr. Johnson did not get at a conclusion by so short a way as this. If Voltaire's licentiousness is objected to me, I say, let it be placed to its true account, the manners of the age and court in which he lived. The lords and ladies of the bedchamber in the reign of Louis XV. found no fault with the immoral tendency of his writings. Why then should our modern _purists_ quarrel with them?--But to return.

Young is a gloomy epigrammatist. He has abused great powers both of thought and language. His moral reflections are sometimes excellent; but he spoils their beauty by overloading them with a religious horror, and at the same time giving them all the smart turns and quaint expression of an enigma or repartee in verse. The well-known lines on Procrastination are in his best manner:

"Be wise to-day; 'tis madness to defer; Next day the fatal precedent will plead; Thus on, till wisdom is push'd out of life.

Procrastination is the thief of time; Year after year it steals, till all are fled, And to the mercies of a moment leaves The vast concerns of an eternal scene.

Of man's miraculous mistakes, this bears The palm, "That all men are about to live,"

For ever on the brink of being born.