Note Book of an English Opium-Eater - Thomas de Quincey (e reader manga txt) 📗
- Author: Thomas de Quincey
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jump after his palace. Now, mark the folly of man. Most of the people I am going to mention subscribed, generally, to the supreme excellence of Milton; but each wished for a little change to be made-- which, and which only was wanted to perfection. Dr. Johnson, though he pretended to be satisfied with the 'Paradise Lost,' even in what he regarded as the undress of blank verse, still secretly wished it in rhyme. That's No. 1. Addison, though quite content with it in English, still could have wished it in Greek. That's No. 2. Bentley, though admiring the blind old poet in the highest degree, still observed, smilingly, that after all he _was_ blind; he, therefore, slashing Dick, could have wished that the great man had always been surrounded by honest people; but, as that was not to be, he could have wished that his amanuensis has been hanged; but, as that also had become impossible, he could wish to do execution upon him in effigy, by sinking, burning, and destroying his handywork--upon which basis of posthumous justice, he proceeded to amputate all the finest passages in the poem. Slashing Dick was No. 3. Payne Knight was a severer man even than slashing Dick; he professed to look upon the first book of 'Paradise Lost' as the finest thing that earth had to show; but, for that very reason, he could have wished, by your leave, to see the other eleven books sawed off, and sent overboard; because, though tolerable perhaps in another situation, they really were a national disgrace, when standing behind that unrivalled portico of book 1. There goes No. 4. Then came a fellow, whose name was either not on his title page, or I have forgotten it, that pronounced the poem to be laudable, and full of good materials; but still he could have wished that the materials had been put together in a more workmanlike manner; which kind office he set about himself. He made a general clearance of all lumber: the expression of every thought he entirely re-cast: and he fitted up the metre with beautiful patent rhymes; not, I believe, out of any consideration for Dr. Johnson's comfort, but on principles of mere abstract decency: as it was, the poem seemed naked, and yet was not ashamed. There went No. 5. _Him_ succeeded a droller fellow than any of the rest. A French book-seller had caused a prose French translation to be made of the 'Paradise Lost,' without particularly noticing its English origin, or at least not in the title page. Our friend, No. 6, getting hold of this as an original French romance, translated it back into English prose, as a satisfactory novel for the season. His little mistake was at length discovered, and communicated to him with shouts of laughter; on which, after considerable kicking and plunging (for a man cannot but turn restive when he finds that he has not only got the wrong sow by the ear, but actually sold the sow to a bookseller), the poor translator was tamed into sulkiness; in which state ho observed that he could have wished his own work, being evidently so much superior to the earliest form of the romance, might be admitted by the courtesy of England to take the precedency as the original 'Paradise Lost,' and to supersede the very rude performance of 'Milton, Mr. John.' [7]
Schlosser makes the astounding assertion, that a compliment of Boileau to Addison, and a pure compliment of ceremony upon Addison's early Latin verses, was (_credite posteri!_) the making of Addison in England. Understand, Schlosser, that Addison's Latin verses were never heard of by England, until long after his English prose had fixed the public attention upon him; his Latin reputation was a slight reaction from his English reputation: and, secondly, understand that Boileau had at no time any such authority in England as to _make_ anybody's reputation; he had first of all to make his own. A sure proof of this is, that Boileau's name was first published to London, by Prior's burlesque of what the Frenchman had called an ode. This gasconading ode celebrated the passage of the Rhine in 1672, and the capture of that famous fortress called _Skink_ ('le fameux fort de'), by Louis XIV., known to London at the time of Prior's parody by the name of 'Louis Baboon.' [8] _That_ was not likely to recommend Master Boileau to any of the allies against the said Baboon, had it ever been heard of out of France. Nor was it likely to make him popular in England, that his name was first mentioned amongst shouts of laughter and mockery. It is another argument of the slight notoriety possessed by Boileau in England--that no attempt was ever made to translate even his satires, epistles, or 'Lutrin,' except by booksellers' hacks; and that no such version ever took the slightest root amongst ourselves, from Addison's day to this very summer of 1847. Boileau was essentially, and in two senses, viz., both as to mind and as to influence, _un homme borne_.
Addison's 'Blenheim' is poor enough; one might think it a translation from some German original of those times. Gottsched's aunt, or Bodmer's wet- nurse, might have written it; but still no fibs even as to 'Blenheim.' His 'enemies' did not say this thing against 'Blenheim' 'aloud,' nor his friends that thing against it 'softly.' And why? Because at that time (1704-5) he had made no particular enemies, nor any particular friends; unless by friends you mean his Whig patrons, and by enemies his tailor and co.
As to 'Cato,' Schlosser, as usual, wanders in the shadow of ancient night. The English 'people,' it seems, so 'extravagantly applauded' this wretched drama, that you might suppose them to have 'altogether changed their nature,' and to have forgotten Shakspeare. That man must have forgotten Shakspeare, indeed, and from _ramollissement_ of the brain, who could admire 'Cato.' 'But,' says Schlosser, 'it was only a 'fashion;' and the English soon repented.' The English could not repent of a crime which they had never committed. Cato was not popular for a moment, nor tolerated for a moment, upon any literary ground, or as a work of art. It was an apple of temptation and strife thrown by the goddess of faction between two infuriated parties. 'Cato,' coming from a man without Parliamentary connections, would have dropped lifeless to the ground. The Whigs have always affected a special love and favor for popular counsels: they have never ceased to give themselves the best of characters as regards public freedom. The Tories, as contradistinguished to the Jacobites, knowing that without _their_ aid, the Revolution could not have been carried, most justly contended that the national liberties had been at least as much indebted to themselves. When, therefore, the Whigs put forth _their_ man Cato to mouth speeches about liberty, as exclusively _their_ pet, and about patriotism and all that sort of thing, saying insultingly to the Tories, 'How do you like _that_? Does _that_ sting?' 'Sting, indeed!' replied the Tories; 'not at all; it's quite refreshing to us, that the Whigs have not utterly disowned such sentiments, which, by their public acts, we really thought they _had_.' And, accordingly, as the popular anecdote tells us, a Tory leader, Lord Bolingbroke, sent for Booth who performed Cato, and presented him (_populo spectante_) with fifty guineas 'for defending so well the cause of the people against a perpetual dictator.' In which words, observe, Lord Bolingbroke at once asserted the cause of his own party, and launched a sarcasm against a great individual opponent, viz., Marlborough. Now, Mr. Schlosser, I have mended your harness: all right ahead; so drive on once more.
But, oh Castor and Pollux, whither--in what direction is it, that the man is driving us? Positively, Schlosser, you must stop and let _me_ get out. I'll go no further with such a drunken coachman. Many another absurd thing I was going to have noticed, such as his utter perversion of what Mandeville said about Addison (viz., by suppressing one word, and misapprehending all the rest). Such, again, as his point-blank misstatement of Addison's infirmity in his official character, which was _not_ that 'he could not prepare despatches in a good style,' but diametrically the opposite case--that he insisted too much on style, to the serious retardation of public business. But all these things are as nothing to what Schlosser says elsewhere. He actually describes Addison, on the whole, as a 'dull prosaist,' and the patron of pedantry! Addison, the man of all that ever lived most hostile even to what was good in pedantry, to its tendencies towards the profound in erudition and the non- popular; Addison, the champion of all that is easy, natural, superficial, a pedant and a master of pedantry! Get down, Schlosser, this moment; or let _me_ get out.
Pope, by far the most important writer, English or Continental, of his own age, is treated with more extensive ignorance by Mr. Schlosser than any other, and (excepting Addison) with more ambitious injustice. A false abstract is given, or a false impression, of any one amongst his brilliant works, that is noticed at all; and a false sneer, a sneer irrelevant to the case, at any work dismissed by name as unworthy of notice. The three works, selected as the gems of Pope's collection, are the 'Essay on Criticism,' the 'Rape of the Lock,' and the 'Essay on Man.' On the first, which (with Dr. Johnson's leave) is the feeblest and least interesting of Pope's writings, being substantially a mere versification, like a metrical multiplication-table, of common-places the most mouldy with which criticism has baited its rat-traps; since nothing is said worth answering, it is sufficient to answer nothing. The 'Rape of the Lock' is treated with the same delicate sensibility that we might have looked for in Brennus, if consulted on the picturesque, or in Attila the Hun, if adjured to decide aesthetically, between two rival cameos. Attila is said (though no doubt falsely) to have described himself as not properly a man so much as the Divine wrath incarnate. This would be fine in a melodrama, with Bengal lights burning on the stage. But, if ever he said such a naughty thing, he forgot to tell us what it was that had made him angry; by what _title_ did _he_ come into alliance with the Divine wrath, which was not likely to consult a savage? And why did his wrath hurry, by forced marches, to the Adriatic? Now so much do people differ in opinion, that, to us, who look at him through a telescope from an eminence, fourteen centuries distant, he takes the shape rather of a Mahratta trooper, painfully gathering _chout_, or a cateran levying black-mail, or a decent tax-gatherer with an inkhorn at his button-hole, and supported by a select party of constabulary friends. The very natural instinct which Attila always showed for following the trail of the wealthiest footsteps, seems to argue a most commercial coolness in the dispensation of his wrath. Mr. Schlosser burns with the wrath of Attila against all aristocracies, and especially that of England. He governs his fury, also, with an Attila discretion in many cases; but not here. Imagine this Hun coming down, sword in hand, upon Pope and his Rosicrucian light troops, levying _chout_ upon Sir Plume, and fluttering the dove-cot of the Sylphs. Pope's 'duty it was,' says this demoniac, to 'scourge the follies of good society,' and also 'to break with the aristocracy.' No, surely? something short of a total rupture would have satisfied the claims of duty? Possibly; but it would not have satisfied Schlosser. And Pope's guilt consists in having made his poem an idol or succession of pictures representing the gayer aspects of society as it really was, and supported by a comic interest of the mock-heroic derived from a playful machinery, instead
Schlosser makes the astounding assertion, that a compliment of Boileau to Addison, and a pure compliment of ceremony upon Addison's early Latin verses, was (_credite posteri!_) the making of Addison in England. Understand, Schlosser, that Addison's Latin verses were never heard of by England, until long after his English prose had fixed the public attention upon him; his Latin reputation was a slight reaction from his English reputation: and, secondly, understand that Boileau had at no time any such authority in England as to _make_ anybody's reputation; he had first of all to make his own. A sure proof of this is, that Boileau's name was first published to London, by Prior's burlesque of what the Frenchman had called an ode. This gasconading ode celebrated the passage of the Rhine in 1672, and the capture of that famous fortress called _Skink_ ('le fameux fort de'), by Louis XIV., known to London at the time of Prior's parody by the name of 'Louis Baboon.' [8] _That_ was not likely to recommend Master Boileau to any of the allies against the said Baboon, had it ever been heard of out of France. Nor was it likely to make him popular in England, that his name was first mentioned amongst shouts of laughter and mockery. It is another argument of the slight notoriety possessed by Boileau in England--that no attempt was ever made to translate even his satires, epistles, or 'Lutrin,' except by booksellers' hacks; and that no such version ever took the slightest root amongst ourselves, from Addison's day to this very summer of 1847. Boileau was essentially, and in two senses, viz., both as to mind and as to influence, _un homme borne_.
Addison's 'Blenheim' is poor enough; one might think it a translation from some German original of those times. Gottsched's aunt, or Bodmer's wet- nurse, might have written it; but still no fibs even as to 'Blenheim.' His 'enemies' did not say this thing against 'Blenheim' 'aloud,' nor his friends that thing against it 'softly.' And why? Because at that time (1704-5) he had made no particular enemies, nor any particular friends; unless by friends you mean his Whig patrons, and by enemies his tailor and co.
As to 'Cato,' Schlosser, as usual, wanders in the shadow of ancient night. The English 'people,' it seems, so 'extravagantly applauded' this wretched drama, that you might suppose them to have 'altogether changed their nature,' and to have forgotten Shakspeare. That man must have forgotten Shakspeare, indeed, and from _ramollissement_ of the brain, who could admire 'Cato.' 'But,' says Schlosser, 'it was only a 'fashion;' and the English soon repented.' The English could not repent of a crime which they had never committed. Cato was not popular for a moment, nor tolerated for a moment, upon any literary ground, or as a work of art. It was an apple of temptation and strife thrown by the goddess of faction between two infuriated parties. 'Cato,' coming from a man without Parliamentary connections, would have dropped lifeless to the ground. The Whigs have always affected a special love and favor for popular counsels: they have never ceased to give themselves the best of characters as regards public freedom. The Tories, as contradistinguished to the Jacobites, knowing that without _their_ aid, the Revolution could not have been carried, most justly contended that the national liberties had been at least as much indebted to themselves. When, therefore, the Whigs put forth _their_ man Cato to mouth speeches about liberty, as exclusively _their_ pet, and about patriotism and all that sort of thing, saying insultingly to the Tories, 'How do you like _that_? Does _that_ sting?' 'Sting, indeed!' replied the Tories; 'not at all; it's quite refreshing to us, that the Whigs have not utterly disowned such sentiments, which, by their public acts, we really thought they _had_.' And, accordingly, as the popular anecdote tells us, a Tory leader, Lord Bolingbroke, sent for Booth who performed Cato, and presented him (_populo spectante_) with fifty guineas 'for defending so well the cause of the people against a perpetual dictator.' In which words, observe, Lord Bolingbroke at once asserted the cause of his own party, and launched a sarcasm against a great individual opponent, viz., Marlborough. Now, Mr. Schlosser, I have mended your harness: all right ahead; so drive on once more.
But, oh Castor and Pollux, whither--in what direction is it, that the man is driving us? Positively, Schlosser, you must stop and let _me_ get out. I'll go no further with such a drunken coachman. Many another absurd thing I was going to have noticed, such as his utter perversion of what Mandeville said about Addison (viz., by suppressing one word, and misapprehending all the rest). Such, again, as his point-blank misstatement of Addison's infirmity in his official character, which was _not_ that 'he could not prepare despatches in a good style,' but diametrically the opposite case--that he insisted too much on style, to the serious retardation of public business. But all these things are as nothing to what Schlosser says elsewhere. He actually describes Addison, on the whole, as a 'dull prosaist,' and the patron of pedantry! Addison, the man of all that ever lived most hostile even to what was good in pedantry, to its tendencies towards the profound in erudition and the non- popular; Addison, the champion of all that is easy, natural, superficial, a pedant and a master of pedantry! Get down, Schlosser, this moment; or let _me_ get out.
Pope, by far the most important writer, English or Continental, of his own age, is treated with more extensive ignorance by Mr. Schlosser than any other, and (excepting Addison) with more ambitious injustice. A false abstract is given, or a false impression, of any one amongst his brilliant works, that is noticed at all; and a false sneer, a sneer irrelevant to the case, at any work dismissed by name as unworthy of notice. The three works, selected as the gems of Pope's collection, are the 'Essay on Criticism,' the 'Rape of the Lock,' and the 'Essay on Man.' On the first, which (with Dr. Johnson's leave) is the feeblest and least interesting of Pope's writings, being substantially a mere versification, like a metrical multiplication-table, of common-places the most mouldy with which criticism has baited its rat-traps; since nothing is said worth answering, it is sufficient to answer nothing. The 'Rape of the Lock' is treated with the same delicate sensibility that we might have looked for in Brennus, if consulted on the picturesque, or in Attila the Hun, if adjured to decide aesthetically, between two rival cameos. Attila is said (though no doubt falsely) to have described himself as not properly a man so much as the Divine wrath incarnate. This would be fine in a melodrama, with Bengal lights burning on the stage. But, if ever he said such a naughty thing, he forgot to tell us what it was that had made him angry; by what _title_ did _he_ come into alliance with the Divine wrath, which was not likely to consult a savage? And why did his wrath hurry, by forced marches, to the Adriatic? Now so much do people differ in opinion, that, to us, who look at him through a telescope from an eminence, fourteen centuries distant, he takes the shape rather of a Mahratta trooper, painfully gathering _chout_, or a cateran levying black-mail, or a decent tax-gatherer with an inkhorn at his button-hole, and supported by a select party of constabulary friends. The very natural instinct which Attila always showed for following the trail of the wealthiest footsteps, seems to argue a most commercial coolness in the dispensation of his wrath. Mr. Schlosser burns with the wrath of Attila against all aristocracies, and especially that of England. He governs his fury, also, with an Attila discretion in many cases; but not here. Imagine this Hun coming down, sword in hand, upon Pope and his Rosicrucian light troops, levying _chout_ upon Sir Plume, and fluttering the dove-cot of the Sylphs. Pope's 'duty it was,' says this demoniac, to 'scourge the follies of good society,' and also 'to break with the aristocracy.' No, surely? something short of a total rupture would have satisfied the claims of duty? Possibly; but it would not have satisfied Schlosser. And Pope's guilt consists in having made his poem an idol or succession of pictures representing the gayer aspects of society as it really was, and supported by a comic interest of the mock-heroic derived from a playful machinery, instead
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