Kitabı oku: «Specimens of the Table Talk of Samuel Taylor Coleridge», sayfa 17

June 15. 1833

VIRTUE AND LIBERTY.—EPISTLE TO THE ROMANS.—ERASMUS.–LUTHER

The necessity for external government to man is in an inverse ratio to the vigour of his self-government. Where the last is most complete, the first is least wanted. Hence, the more virtue the more liberty.

* * * * *

I think St. Paul's Epistle to the Romans the most profound work in existence; and I hardly believe that the writings of the old Stoics, now lost, could have been deeper. Undoubtedly it is, and must be, very obscure to ordinary readers; but some of the difficulty is accidental, arising from the form in which the Epistle appears. If we could now arrange this work in the way in which we may be sure St. Paul would himself do, were he now alive, and preparing it for the press, his reasoning would stand out clearer. His accumulated parentheses would be thrown into notes, or extruded to the margin. You will smile, after this, if I say that I think I understand St. Paul; and I think so, because, really and truly, I recognize a cogent consecutiveness in the argument—the only evidence I know that you understand any book. How different is the style of this intensely passionate argument from that of the catholic circular charge called the Epistle to the Ephesians!—and how different that of both from the style of the Epistles to Timothy and Titus, which I venture to call [Greek: epistolal panloeideiz]

Erasmus's paraphrase of the New Testament is clear and explanatory; but you cannot expect any thing very deep from Erasmus. The only fit commentator on Paul was Luther—not by any means such a gentleman as the Apostle, but almost as great a genius.

June 17. 1833

NEGRO EMANCIPATION

Have you been able to discover any principle in this Emancipation Bill for the Slaves, except a principle of fear of the abolition party struggling with a dread of causing some monstrous calamity to the empire at large? Well! I will not prophesy; and God grant that this tremendous and unprecedented act of positive enactment may not do the harm to the cause of humanity and freedom which I cannot but fear! But yet, what can be hoped, when all human wisdom and counsel are set at nought, and religious faith— the only miraculous agent amongst men—is not invoked or regarded! and that most unblest phrase—the Dissenting interest—enters into the question!

June 22. 1833

HACKET'S LIFE OF ARCHBISHOP WILLIAMS.—CHARLES I.—MANNERS UNDER EDWARD III., RICHARD II., AND HENRY VIII

What a delightful and instructive hook Bishop Hacket's Life of Archbishop Williams is! You learn more from it of that which is valuable towards an insight into the times preceding the Civil War than from all the ponderous histories and memoirs now composed about that period.

* * * * *

Charles seems to have been a very disagreeable personage during James's life. There is nothing dutiful in his demeanour.

* * * * *

I think the spirit of the court and nobility of Edward III. and Richard II. was less gross than that in the time of Henry VIII.; for in this latter period the chivalry had evaporated, and the whole coarseness was left by itself. Chaucer represents a very high and romantic style of society amongst the gentry.

June 29. 1833

HYPOTHESIS.—SUFFICTION.—THEORY.—LYELL'S GEOLOGY.—GOTHIC ARCHITECTURE.—GERARD DOUW's "SCHOOLMASTER" AND TITIAN'S "VENUS."—SIR J. SCARLETT

It seems to me a great delusion to call or suppose the imagination of a subtle fluid, or molecules penetrable with the same, a legitimate hypothesis. It is a mere suffiction. Newton took the fact of bodies falling to the centre, and upon that built up a legitimate hypothesis. It was a subposition of something certain. But Descartes' vortices were not an hypothesis; they rested on no fact at all; and yet they did, in a clumsy way, explain the motions of the heavenly bodies. But your subtle fluid is pure gratuitous assumption; and for what use? It explains nothing.

Besides, you are endeavouring to deduce power from mass, in which you expressly say there is no power but the vis inertiae: whereas, the whole analogy of chemistry proves that power produces mass.

* * * * *

The use of a theory in the real sciences is to help the investigator to a complete view of all the hitherto discovered facts relating to the science in question; it is a collected view, [Greek: the_orhia], of all he yet knows in one. Of course, whilst any pertinent facts remain unknown, no theory can be exactly true, because every new fact must necessarily, to a greater or less degree, displace the relation of all the others. A theory, therefore, only helps investigation; it cannot invent or discover. The only true theories are those of geometry, because in geometry all the premisses are true and unalterable. But, to suppose that, in our present exceedingly imperfect acquaintance with the facts, any theory in chemistry or geology is altogether accurate, is absurd:—it cannot be true.

Mr. Lyell's system of geology is just half the truth, and no more. He affirms a great deal that is true, and he denies a great deal which is equally true; which is the general characteristic of all systems not embracing the whole truth. So it is with the rectilinearity or undulatory motion of light;—I believe both; though philosophy has as yet but imperfectly ascertained the conditions of their alternate existence, or the laws by which they are regulated.

* * * * *

Those who deny light to be matter do not, therefore, deny its corporeity.

* * * * *

The principle of the Gothic architecture is infinity made imaginable. It is no doubt a sublimer effort of genius than the Greek style; but then it depends much more on execution for its effect. I was more than ever impressed with the marvellous sublimity and transcendant beauty of King's College Chapel.¹⁵⁴ It is quite unparalleled.

I think Gerard Douw's "Schoolmaster," in the Fitzwilliam Museum, the finest thing of the sort I ever saw;—whether you look at it at the common distance, or examine it with a glass, the wonder is equal. And that glorious picture of the Venus—so perfectly beautiful and perfectly innocent—as if beauty and innocence could not be dissociated! The French thing below is a curious instance of the inherent grossness of the French taste. Titian's picture is made quite bestial.

* * * * *

I think Sir James Scarlett's speech for the defendant, in the late action of Cobbett v. The Times, for a libel, worthy of the best ages of Greece or Rome; though, to be sure, some of his remarks could not have been very palatable to his clients.

* * * * *

I am glad you came in to punctuate my discourse, which I fear has gone on for an hour without any stop at all.

July 1. 1833

MANDEVILLE'S FABLE OF THE BEES.—BESTIAL THEORY.—CHARACTER OF BERTRAM.– BEAUMONT AND FLETCHER'S DRAMAS.—ÆSCHYLUS, SOPHOCLES, EURIPIDES,—MILTON

If I could ever believe that Mandeville really meant any thing more by his Fable of the Bees than a bonne bouche of solemn raillery, I should like to ask those man-shaped apes who have taken up his suggestions in earnest, and seriously maintained them as bases for a rational account of man and the world—how they explain the very existence of those dexterous cheats, those superior charlatans, the legislators and philosophers, who have known how to play so well upon the peacock-like vanity and follies of their fellow mortals.

By the by, I wonder some of you lawyers (sub rosa, of course) have not quoted the pithy lines in Mandeville upon this registration question:—

 
"The lawyers, of whose art the basis
Was raising feuds and splitting cases,
Oppos'd all Registers, that cheats
Might make more work with dipt estates;
As 'twere unlawful that one's own
Without a lawsuit should be known!
They put off hearings wilfully,
To finger the refreshing fee;
And to defend a wicked cause
Examined and survey'd the laws,
As burglars shops and houses do,
To see where best they may break through."
 

There is great Hudibrastic vigour in these lines; and those on the doctors are also very terse.

* * * * *

Look at that head of Cline, by Chantrey! Is that forehead, that nose, those temples and that chin, akin to the monkey tribe? No, no. To a man of sensibility no argument could disprove the bestial theory so convincingly as a quiet contemplation of that fine bust.

* * * * *

I cannot agree with the solemn abuse which the critics have poured out upon Bertram in "All's Well that ends Well." He was a young nobleman in feudal times, just bursting into manhood, with all the feelings of pride of birth and appetite for pleasure and liberty natural to such a character so circumstanced. Of course he had never regarded Helena otherwise than as a dependant in the family; and of all that which she possessed of goodness and fidelity and courage, which might atone for her inferiority in other respects, Bertram was necessarily in a great measure ignorant. And after all, her prima facie merit was the having inherited a prescription from her old father the doctor, by which she cures the king,—a merit, which supposes an extravagance of personal loyalty in Bertram to make conclusive to him in such a matter as that of taking a wife. Bertram had surely good reason to look upon the king's forcing him to marry Helena as a very tyrannical act. Indeed, it must be confessed that her character is not very delicate, and it required all Shakspeare's consummate skill to interest us for her; and he does this chiefly by the operation of the other characters,—the Countess, Lafeu, &c. We get to like Helena from their praising and commending her so much.

* * * * *

In Beaumont and Fletcher's tragedies the comic scenes are rarely so interfused amidst the tragic as to produce a unity of the tragic on the whole, without which the intermixture is a fault. In Shakspeare, this is always managed with transcendant skill. The Fool in Lear contributes in a very sensible manner to the tragic wildness of the whole drama. Beaumont and Fletcher's serious plays or tragedies are complete hybrids,—neither fish nor flesh,—upon any rules, Greek, Roman, or Gothic: and yet they are very delightful notwithstanding. No doubt, they imitate the ease of gentlemanly conversation better than Shakspeare, who was unable not to be too much associated to succeed perfectly in this.

When I was a boy, I was fondest of Æschylus; in youth and middle age I preferred Euripides; now in my declining years I admire Sophocles. I can now at length see that Sophocles is the most perfect. Yet he never rises to the sublime simplicity of Æschylus—simplicity of design, I mean—nor diffuses himself in the passionate outpourings of Euripides. I understand why the ancients called Euripides the most tragic of their dramatists: he evidently embraces within the scope of the tragic poet many passions,– love, conjugal affection, jealousy, and so on, which Sophocles seems to have considered as incongruous with the ideal statuesqueness of the tragic drama. Certainly Euripides was a greater poet in the abstract than Sophocles. His choruses may be faulty as choruses, but how beautiful and affecting they are as odes and songs! I think the famous [Greek: Euippoy Xene], in Oedipus Coloneus¹⁵⁵ cold in comparison with many of the odes of Euripides, as that song of the chorus in the Hippolytus—[Greek: "Eoos," Eoos¹⁵⁶] and so on; and I remember a choric ode in the Hecuba, which always struck me as exquisitely rich and finished; I mean, where the chorus speaks of Troy and the night of the capture.¹⁵⁷

There is nothing very surprising in Milton's preference of Euripides, though so unlike himself. It is very common—very natural—for men to like and even admire an exhibition of power very different in kind from any thing of their own. No jealousy arises. Milton preferred Ovid too, and I dare say he admired both as a man of sensibility admires a lovely woman, with a feeling into which jealousy or envy cannot enter. With Aeschylus or Sophocles he might perchance have matched himself.

In Euripides you have oftentimes a very near approach to comedy, and I hardly know any writer in whom you can find such fine models of serious and dignified conversation.

July 3. 1833

STYLE.—CAVALIER SLANG.—JUNTOS.—PROSE AND VERSE.—IMITATION AND COPY

The collocation of words is so artificial in Shakspeare and Milton, that you may as well think of pushing a¹⁵⁸ brick out of a wall with your forefinger, as attempt to remove a word out of any of their finished passages.¹⁵⁹

A good lecture upon style might he composed, by taking on the one hand the slang of L'Estrange, and perhaps, even of Roger North,¹⁶⁰ which became so fashionable after the Restoration as a mark of loyalty; and on the other, the Johnsonian magniloquence or the balanced metre of Junius; and then showing how each extreme is faulty, upon different grounds.

It is quite curious to remark the prevalence of the Cavalier slang style in the divines of Charles the Second's time. Barrow could not of course adopt such a mode of writing throughout, because he could not in it have communicated his elaborate thinkings and lofty rhetoric; but even Barrow not unfrequently lets slip a phrase here and there in the regular Roger North way—much to the delight, no doubt, of the largest part of his audience and contemporary readers. See particularly, for instances of this, his work on the Pope's supremacy. South is full of it.

The style of Junius is a sort of metre, the law of which is a balance of thesis and antithesis. When he gets out of this aphorismic metre into a sentence of five or six lines long, nothing can exceed the slovenliness of the English. Horne Tooke and a long sentence seem the only two antagonists that were too much for him. Still the antithesis of Junius is a real antithesis of images or thought; but the antithesis of Johnson is rarely more than verbal.

The definition of good prose is—proper words in their proper places;—of good verse—the most proper words in their proper places. The propriety is in either case relative. The words in prose ought to express the intended meaning, and no more; if they attract attention to themselves, it is, in general, a fault. In the very best styles, as Southey's, you read page after page, understanding the author perfectly, without once taking notice of the medium of communication;—it is as if he had been speaking to you all the while. But in verse you must do more;—there the words, the media, must be beautiful, and ought to attract your notice—yet not so much and so perpetually as to destroy the unity which ought to result from the whole poem. This is the general rule, but, of course, subject to some modifications, according to the different kinds of prose or verse. Some prose may approach towards verse, as oratory, and therefore a more studied exhibition of the media may be proper; and some verse may border more on mere narrative, and there the style should be simpler. But the great thing in poetry is, quocunque modo, to effect a unity of impression upon the whole; and a too great fulness and profusion of point in the parts will prevent this. Who can read with pleasure more than a hundred lines or so of Hudibras at one time? Each couplet or quatrain is so whole in itself, that you can't connect them. There is no fusion,—just as it is in Seneca.

* * * * *

Imitation is the mesothesis of likeness and difference. The difference is as essential to it as the likeness; for without the difference, it would be copy or facsimile. But to borrow a term from astronomy, it is a librating mesothesis: for it may verge more to likeness as in painting, or more to difference, as in sculpture.

July 4. 1833

DR. JOHNSON.—BOSWELL.—BURKE.—NEWTON.—MILTON

Dr. Johnson's fame now rests principally upon Boswell. It is impossible not to be amused with such a book. But his bow-wow manner must have had a good deal to do with the effect produced;—for no one, I suppose, will set Johnson before Burke,—and Burke was a great and universal talker;—yet now we hear nothing of this except by some chance remarks in Boswell. The fact is, Burke, like all men of genius who love to talk at all, was very discursive and continuous; hence he is not reported; he seldom said the sharp short things that Johnson almost always did, which produce a more decided effect at the moment, and which are so much more easy to carry off.¹⁶¹ Besides, as to Burke's testimony to Johnson's powers, you must remember that Burke was a great courtier; and after all, Burke said and wrote more than once that he thought Johnson greater in talking than writing, and greater in Boswell than in real life.¹⁶²

* * * * *

Newton was a great man, but you must excuse me if I think that it would take many Newtons to make one Milton.

July 6. 1833

PAINTING.–MUSIC.–POETRY

It is a poor compliment to pay to a painter to tell him that his figure stands out of the canvass, or that you start at the likeness of the portrait. Take almost any daub, cut it out of the canvass, and place the figure looking into or out of a window, and any one may take it for life. Or take one of Mrs. Salmon's wax queens or generals, and you will very sensibly feel the difference between a copy, as they are, and an imitation, of the human form, as a good portrait ought to be. Look at that flower vase of Van Huysum, and at these wax or stone peaches and apricots! The last are likest to their original, but what pleasure do they give? None, except to children.¹⁶³

Some music is above me; most music is beneath me. I like Beethoven and Mozart—or else some of the aërial compositions of the elder Italians, as Palestrina¹⁶⁴ and Carissimi.—And I love Purcell.

The best sort of music is what it should be—sacred; the next best, the military, has fallen to the lot of the Devil.

Good music never tires me, nor sends me to sleep. I feel physically refreshed and strengthened by it, as Milton says he did.

I could write as good verses now as ever I did, if I were perfectly free from vexations, and were in the ad libitum hearing of fine music, which has a sensible effect in harmonizing my thoughts, and in animating and, as it were, lubricating my inventive faculty. The reason of my not finishing Christabel is not, that I don't know how to do it—for I have, as I always had, the whole plan entire from beginning to end in my mind; but I fear I could not carry on with equal success the execution of the idea, an extremely subtle and difficult one.

Besides, after this continuation of Faust, which they tell me is very poor, who can have courage to attempt¹⁶⁵ a reversal of the judgment of all criticism against continuations? Let us except Don Quixote, however, although the second part of that transcendant work is not exactly uno flatu with the original conception.

July 8. 1833

PUBLIC SCHOOLS

I am clear for public schools as the general rule; but for particular children private education may be proper. For the purpose of moving at ease in the best English society,—mind, I don't call the London exclusive clique the best English society,—the defect of a public education upon the plan of our great schools and Oxford and Cambridge is hardly to be supplied. But the defect is visible positively in some men, and only negatively in others. The first offend you by habits and modes of thinking and acting directly attributable to their private education; in the others you only regret that the freedom and facility of the established and national mode of bringing up is not added to their good qualities.

* * * * *

I more than doubt the expediency of making even elementary mathematics a part of the routine in the system of the great schools. It is enough, I think, that encouragement and facilities should be given; and I think more will be thus effected than by compelling all. Much less would I incorporate the German or French, or any modern language, into the school labours. I think that a great mistake.¹⁶⁶

August 4, 1833

SCOTT AND COLERIDGE

Dear Sir Walter Scott and myself were exact, but harmonious, opposites in this;—that every old ruin, hill, river, or tree called up in his mind a host of historical or biographical associations,—just as a bright pan of brass, when beaten, is said to attract the swarming bees;—whereas, for myself, notwithstanding Dr. Johnson, I believe I should walk over the plain of Marathon without taking more interest in it than in any other plain of similar features. Yet I receive as much pleasure in reading the account of the battle, in Herodotus, as any one can. Charles Lamb wrote an essay¹⁶⁷ on a man who lived in past time:—I thought of adding another to it on one who lived not in time at all, past, present, or future,—but beside or collaterally.