A History of English Literature - George Saintsbury (romantic books to read .TXT) 📗

of Tristram Shandy to Democritus Junior. Charles Lamb, eloquently praising the "fantastic great old man," exhibited perhaps more perversity than sense in denouncing the modern reprints which, after all, are not like some modern reprints (notably one of Burton's contemporary, Felltham, to be noticed shortly), in any real sense garbled. Since that time Burton has to some extent fallen back to the base uses of a quarry for half-educated journalists; nevertheless, all fit readers of English literature have loved him.

The book is a sufficiently strange one at first sight; and it is perhaps no great wonder that uncritical readers should have been bewildered by the bristling quotations from utterly forgotten authorities which, with full and careful reference for the most part, stud its pages, by its elaborate but apparently futile marshalling in "partitions" and "members," in "sections" and "subsections," and by the measureless license of digression which the author allows himself. It opens with a long epistle, filling some hundred pages in the modern editions, from Democritus Junior, as the author calls himself, to the reader—an epistle which gives a true foretaste of the character and style of the text, though, unlike that text, it is not scholastically divided. The division begins with the text itself, and even the laziest reader will find the synopses of Burton's "partitions" a curious study. It is impossible to be, at least in appearance, more methodical, and all the typographical resources of brackets (sub-bracketed even to the seventh or eighth involution) and of reference letters are exhausted in order to draw up a conspectus of the causes, symptoms, nature, effects, and cure of melancholy. This method is not exactly the method of madness, though it is quite possible for a reader to attach more (as also less) importance to it than it deserves. It seems probable on the whole that the author, with the scholastic habits of his time, did actually draw out a programme for the treatment of his subject in some form not very different from these wonderful synopses, and did actually endeavour to keep to it, or at any rate to work on its lines within the general compass of the scheme. But on each several head (and reducing them to their lowest terms the heads are legion) he allowed himself the very widest freedom of digression, not merely in extracting and applying the fruits of his notebook, but in developing his own thoughts,—a mine hardly less rich if less extensive than the treasures of the Bodleian Library which are said to have been put at his disposal.

The consequence is, that the book is one quite impossible to describe in brief space. The melancholy of which the author treats, and of which, no doubt, he was in some sort the victim, is very far from being the mere Byronic or Wertherian disease which became so familiar some hundred years ago. On the other hand, Burton being a practical, and, on the whole, very healthy Englishman, it came something short of "The Melencolia that transcends all wit," the incurable pessimism and quiet despair which have been thought to be figured or prefigured in Durer's famous print. Yet it approaches, and that not distantly, to this latter. It is the Vanity of Vanities of a man who has gone, in thought at least, over the whole round of human pleasures and interests, and who, if he has not exactly found all to be vanity, has found each to be accompanied by some amari aliquid. It is at the same time the frankly expressed hypochondria of a man whose bodily health was not quite so robust as his mental constitution. It is the satiety of learning of a man who, nevertheless, knows that learning, or at least literature, is the only cure for his disease.

In mere style there is perhaps nothing very strongly characteristic in Burton, though there is much that is noteworthy in the way in which he adapts his style to the peculiar character of his book. Like Rabelais, he has but rarely occasion to break through his fantastic habit of stringing others' pearls on a mere string of his own, and to set seriously to the composition of a paragraph of wholly original prose. But when he does, the effect is remarkable, and shows that it was owing to no poverty or awkwardness that he chose to be so much of a borrower. In his usual style, where a mere framework of original may enclose a score or more quotations, translated or not (the modern habit of translating Burton's quotations spoils, among other things, the zest of his own quaint habit of adding, as it were, in the same breath, a kind of summary or paraphrase in English of what he has said in Latin or Greek), he was not superior to his time in the loose construction of sentences; but the wonder is that his fashion of writing did not make him even inferior to it. One of his peculiar tricks—the only one, perhaps, which he uses to the extent of a mannerism—is the suppression of the conjunctions "or" and "and," which gives a very quaint air to his strings of synonyms. But an example will do more here than much analysis:—