Note Book of an English Opium-Eater - Thomas de Quincey (e reader manga txt) 📗

even more narrowly, epic poets. The duty thrown upon the second couplet is to characterize these three poets, and to value them against each other, but in such terms as that, whilst nothing less than the very highest praise should be assigned to the two elder poets in this trinity--the Greek and the Roman-- nevertheless, by some dexterous artifice, a higher praise than the highest should suddenly unmask itself, and drop, as it were, like a diadem from the clouds upon the brows of their English competitor. In the kind of expectation raised, and in the extreme difficulty of adequately meeting this expectation, there was pretty much the same challenge offered to Dryden as was offered, somewhere about the same time, to a British ambassador when dining with his political antagonists. One of these--the ambassador of France--had proposed to drink his master, Louis XIV., under the character of the sun, who dispensed life and light to the whole political system. To this there was no objection; and immediately, by way of intercepting any further draughts upon the rest of the solar system, the Dutch ambassador rose, and proposed the health of their high mightinesses the Seven United States, as the moon and six [1] planets, who gave light in the absence of the sun. The two foreign ambassadors, Monsieur and Mynheer, secretly enjoyed the mortification of their English brother, who seemed to be thus left in a state of bankruptcy, 'no funds' being available for retaliation, or so they fancied. But suddenly our British representative toasted _his_ master as Joshua, the son of Nun, that made the sun and moon stand still. All had seemed lost for England, when in an instant of time both her antagonists were checkmated. Dryden assumed something of the same position. He gave away the supreme jewels in his exchequer; apparently nothing remained behind; all was exhausted. To Homer he gave A; to Virgil he gave B; and, behold! after these were given away, there remained nothing at all that would not have been a secondary praise. But, in a moment of time, by giving A _and_ B to Milton, at one sling of his victorious arm he raised him above Homer by the whole extent of B, and above Virgil by the whole extent of A. This felicitous evasion of the embarrassment is accomplished in the second couplet; and, finally, the third couplet winds up with graceful effect, by making a _resume_, or recapitulation of the logic concerned in the distribution of prizes just announced. Nature, he says, had it not in her power to provide a third prize separate from the first and second; her resource was, to join the first and second in combination: 'To make a third, she joined the former two.'

Such is the abstract of this famous epigram; and, judged simply by the outline and tendency of the thought, it merits all the vast popularity which it has earned. But in the meantime, it is radically vicious as regards the filling in of this outline; for the particular quality in which Homer is accredited with the pre-eminence, viz., _loftiness of thought_, happens to be a mere variety of expression for that quality, viz. _majesty_, in which the pre-eminence is awarded to Virgil. Homer excels Virgil in the very point in which lies Virgil's superiority to Homer; and that synthesis, by means of which a great triumph is reserved to Milton, becomes obviously impossible, when it is perceived that the supposed analytic elements of this synthesis are blank reiterations of each other.

Exceedingly striking it is, that a thought should have prospered for one hundred and seventy years, which, on the slightest steadiness of examination, turns out to be no thought at all, but mere blank vacuity. There is, however, this justification of the case, that the mould, the set of channels, into which the metal of the thought is meant to run, really _has_ the felicity which it appears to have: the form is perfect; and it is merely in the _matter_, in the accidental filling up of the mould, that a fault has been committed. Had the Virgilian point of excellence been _loveliness_ instead of _majesty_, or any word whatever suggesting the common antithesis of sublimity and beauty; or had it been power on the one side, matched against grace on the other, the true lurking tendency of the thought would have been developed, and the sub-conscious purpose of the epigram would have fulfilled itself to the letter.

_N.B._--It is not meant that _loftiness of thought_ and _majesty_ are expressions so entirely interchangeable, as that no shades of difference could be suggested; it is enough that these 'shades' are not substantial enough, or broad enough, to support the weight of opposition which the epigram assigns to them. _Grace_ and _elegance_, for instance, are far from being in all relations synonymous; but they are so to the full extent of any purposes concerned in this epigram. Nevertheless, it is probable enough that Dryden had moving in his thoughts a relation of the word _majesty_, which, if developed, would have done justice to his meaning. It was, perhaps, the decorum and sustained dignity of the _composition_--the workmanship apart from the native grandeur of the materials--the majestic style of the artistic treatment as distinguished from the original creative power--which Dryden, the translator of the Roman poet, familiar therefore with his weakness and with his strength, meant in this place to predicate as characteristically observable in Virgil.


FOOTNOTE

[1] '_Six planets_;'--No more had then been discovered.


POPE'S RETORT UPON ADDISON.

There is nothing extraordinary, or that could merit a special notice, in a simple case of oversight, or in a blunder, though emanating from the greatest of poets. But such a case challenges and forces our attention, when we know that the particular passage in which it occurs was wrought and burnished with excessive pains; or (which in this case is also known) when that particular passage is pushed into singular prominence as having obtained a singular success. In no part of his poetic mission did Pope so fascinate the gaze of his contemporaries as in his functions of satirist; which functions, in his latter years, absorbed all other functions. And one reason, I believe, why it was that the interest about Pope decayed so rapidly after his death (an accident somewhere noticed by Wordsworth), must be sought in the fact, that the most stinging of his personal allusions, by which he had given salt to his later writings, were continually losing their edge, and sometimes their intelligibility, as Pope's own contemporary generation was dying off. Pope alleges it as a palliation of his satiric malice, that it had been forced from him in the way of retaliation; forgetting that such a plea wilfully abjures the grandest justification of a satirist, viz., the deliberate assumption of the character as something corresponding to the prophet's mission amongst the Hebrews. It is no longer the _facit indignatio versum_. Pope's satire, where even it was most effective, was personal and vindictive, and upon that argument alone could not he philosophic. Foremost in the order of his fulminations stood, and yet stands, the bloody castigation by which, according to his own pretence, he warned and menaced (but by which, in simple truth, he executed judgment upon) his false friend, Addison.

To say that this drew vast rounds of applause upon its author, and frightened its object into deep silence for the rest of his life, like the _Quos ego_ of angry Neptune, sufficiently argues that the verses must have ploughed as deeply as the Russian knout. Vitriol could not scorch more fiercely. And yet the whole passage rests upon a blunder; and the blunder is so broad and palpable, that it implies instant forgetfulness both in the writer and the reader. The idea which furnishes the basis of the passage is this: that the conduct ascribed to Addison is in its own nature so despicable, as to extort laughter by its primary impulse; but that this laughter changes into weeping, when we come to understand that the person concerned in this delinquency is Addison. The change, the transfiguration, in our mood of contemplating the offence, is charged upon the discovery which we are supposed to make as to the person of the offender; that which by its baseness had been simply comic when imputed to some corresponding author, passes into a tragic _coup-de-theatre_, when it is suddenly traced back to a man of original genius. The whole, therefore, of this effect is made to depend upon the sudden scenical transition from a supposed petty criminal to one of high distinction. And, meantime, no such stage effect had been possible, since the knowledge that a man of genius was the offender had been what we started with from the beginning. 'Our laughter is changed to tears,' says Pope, 'as soon as we discover that the base act had a noble author.' And, behold! the initial feature in the whole description of the case is, that the libeller was one whom 'true genius fired:'

'Peace to all such! But were there one whose mind
True genius fires,' &c.

Before the offence is described, the perpetrator is already characterized as a man of genius: and, _in spite of that knowledge_, we laugh. But suddenly our mood changes, and we weep, but why? I beseech you. Simply because we have ascertained the author to be a man of genius.

'Who would not laugh, if such a man there be?
Who would not weep, if Atticus were he?'

The sole reason for weeping is something that we knew already before we began to laugh.

It would not be right in logic, in fact, it would be a mis-classification, if I should cite as at all belonging to the same group several passages in Milton that come very near to Irish bulls, by virtue of distorted language. One reason against such a classification would lie precisely in that fact--viz., that the assimilation to the category of bulls lurks in the verbal expression, and not (as in Pope's case) amongst the conditions of the thought. And a second reason would lie in the strange circumstance, that Milton had not fallen into this snare of diction through any carelessness or oversight, but with his eyes wide open, deliberately avowing his error as a special elegance; repeating it; and well aware of splendid Grecian authority for his error, if anybody should be bold enough to call it an error. Every reader must be aware of the case--

'Adam the goodliest man of men since born
His sons; the fairest of her daughters Eve'--

which makes Adam one of his own sons, Eve one of her own daughters. This, however, is authorized by Grecian usage in the severest writers. Neither can it be alleged that these might be bold poetic expressions, harmonizing with the Grecian idiom; for Poppo has illustrated this singular form of expression in a prose-writer, as philosophic and austere as Thucydides; a form which (as it offends against logic) must offend equally in all languages. Some beauty must have been described in the idiom, such as atoned for its solecism: for Milton recurs to the same idiom, and under the same entire freedom of choice, elsewhere; particularly in this instance, which has not been pointed out: 'And never,' says Satan to the abhorred phantoms of Sin and Death, when crossing his path,

'And never saw till now
Sight more detestable than him and thee.'

Now, therefore, it seems, he _had_ seen a sight more detestable than this very sight. He now looked upon something more hateful than X Y Z. What was it? It was X Y Z.

But the authority of