Complete Works of Samuel Johnson, page 22
But though it should happen that an author is capable of excelling, yet his merit may pass without notice, huddled in the variety of things, and thrown into the general miscellany of life. He that endeavours after fame by writing, solicits the regard of a multitude fluctuating in pleasures, or immersed in business, without time for intellectual amusements; he appeals to judges prepossessed by passions, or corrupted by prejudices, which preclude their approbation of any new performance. Some are too indolent to read any thing, till its reputation is established; others too envious to promote that fame which gives them pain by its increase. What is new is opposed, because most are unwilling to be taught; and what is known is rejected, because it is not sufficiently considered that men more frequently require to be reminded than informed. The learned are afraid to declare their opinion early, lest they should put their reputation in hazard; the ignorant always imagine themselves giving some proof of delicacy, when they refuse to be pleased: and he that finds his way to reputation through all these obstructions, must acknowledge that he is indebted to other causes besides his industry, his learning, or his wit.
No. 3. TUESDAY, MARCH 27, 1750.
Virtus, repulsæ nescia sordidæ,
Intaminatis fulget honoribus,
Nec sumit aut pouit secures
Arbitrio popularis auræ.
Hor. lib. iii. Od. II. 18.
Undisappointed in designs,
With native honours virtue shines;
Nor takes up pow’r, nor lays it down,
As giddy rabbles smile or frown.
Elphinston.
The task of an author is, either to teach what is not known, or to recommend known truths by his manner of adorning them; either to let new light in upon the mind, and open new scenes to the prospect, or to vary the dress and situation of common objects, so as to give them fresh grace and more powerful attractions, to spread such flowers over the regions through which the intellect has already made its progress, as may tempt it to return, and take a second view of things hastily passed over, or negligently regarded.
Either of these labours is very difficult, because, that they may not be fruitless, men must not only be persuaded of their errours, but reconciled to their guide; they must not only confess their ignorance, but, what is still less pleasing, must allow that he from whom they are to learn is more knowing than themselves.
It might be imagined that such an employment was in itself sufficiently irksome and hazardous; that none would be found so malevolent as wantonly to add weight to the stone of Sisyphus; and that few endeavours would be used to obstruct those advances to reputation, which must be made at such an expense of time and thought, with so great hazard in the miscarriage, and with so little advantage from the success.
Yet there is a certain race of men, that either imagine it their duty, or make it their amusement, to hinder the reception of every work of learning or genius, who stand as sentinels in the avenues of fame, and value themselves upon giving Ignorance and Envy the first notice of a prey.
To these men, who distinguish themselves by the appellation of Criticks, it is necessary for a new author to find some means of recommendation. It is probable, that the most malignant of these persecutors might be somewhat softened, and prevailed on, for a short time, to remit their fury. Having for this purpose considered many expedients, I find in the records of ancient times, that Argus was lulled by musick, and Cerberus quieted with a sop; and am, therefore, inclined to believe that modern criticks, who, if they have not the eyes, have the watchfulness of Argus, and can bark as loud as Cerberus, though, perhaps, they cannot bite with equal force, might be subdued by methods of the same kind. I have heard how some have been pacified with claret and a supper, and others laid asleep by the soft notes of flattery.
Though the nature of my undertaking gives me sufficient reason to dread the united attacks of this virulent generation, yet I have not hitherto persuaded myself to take any measures for flight or treaty. For I am in doubt whether they can act against me by lawful authority, and suspect that they have presumed upon a forged commission, styled themselves the ministers of Criticism, without any authentick evidence of delegation, and uttered their own determinations as the decrees of a higher judicature.
Criticism, from whom they derive their claim to decide the fate of writers, was the eldest daughter of Labour and of Truth: she was at her birth committed to the care of Justice, and brought up by her in the palace of Wisdom. Being soon distinguished by the celestials, for her uncommon qualities, she was appointed the governess of Fancy, and empowered to beat time to the chorus of the Muses, when they sung before the throne of Jupiter.
When the Muses condescended to visit this lower world, they came accompanied by Criticism, to whom, upon her descent from her native regions, Justice gave a sceptre, to be carried aloft in her right hand, one end of which was tinctured with ambrosia, and inwreathed with a golden foliage of amaranths and bays; the other end was encircled with cypress and poppies, and dipped in the waters of oblivion. In her left hand she bore an unextinguishable torch, manufactured by Labour, and lighted by Truth, of which it was the particular quality immediately to shew every thing in its true form, however it might be disguised to common eyes. Whatever Art could complicate, or Folly could confound, was, upon the first gleam of the torch of Truth, exhibited in its distinct parts and original simplicity; it darted through the labyrinths of sophistry, and shewed at once all the absurdities to which they served for refuge; it pierced through the robes, which Rhetoric often sold to Falsehood, and detected the disproportion of parts, which artificial veils had been contrived to cover.
Thus furnished for the execution of her office, Criticism came down to survey the performances of those who professed themselves the votaries of the Muses. Whatever was brought before her, she beheld by the steady light of the torch of Truth, and when her examination had convinced her that the laws of just writing had been observed, she touched it with the amaranthine end of the sceptre, and consigned it over to immortality.
But it more frequently happened, that in the works, which required her inspection, there was some imposture attempted; that false colours were laboriously laid; that some secret inequality was found between the words and sentiments, or some dissimilitude of the ideas and the original objects; that incongruities were linked together, or that some parts were of no use but to enlarge the appearance of the whole, without contributing to its beauty, solidity, or usefulness.
Wherever such discoveries were made, and they were made whenever these faults were committed, Criticism refused the touch which conferred the sanction of immortality, and, when the errours were frequent and gross, reversed the sceptre, and let drops of lethe distil from the poppies and cypress, a fatal mildew, which immediately began to waste the work away, till it was at last totally destroyed.
There were some compositions brought to the test, in which, when the strongest light was thrown upon them, their beauties and faults appeared so equally mingled, that Criticism stood with her sceptre poised in her hand, in doubt whether to shed lethe, or ambrosia, upon them. These at last increased to so great a number, that she was weary of attending such doubtful claims, and, for fear of using improperly the sceptre of Justice, referred the cause to be considered by Time.
The proceedings of Time, though very dilatory, were, some few caprices excepted, conformable to Justice: and many who thought themselves secure by a short forbearance, have sunk under his scythe, as they were posting down with their volumes in triumph to futurity. It was observable that some were destroyed by little and little, and others crushed for ever by a single blow.
Criticism having long kept her eye fixed steadily upon Time, was at last so well satisfied with his conduct, that she withdrew from the earth with her patroness Astrea, and left Prejudice and False Taste to ravage at large as the associates of Fraud and Mischief; contenting herself thenceforth to shed her influence from afar upon some select minds, fitted for its reception by learning and by virtue.
Before her departure she broke her sceptre, of which the shivers, that formed the ambrosial end, were caught up by Flattery, and those that had been infected with the waters of lethe were, with equal haste, seized by Malevolence. The followers of Flattery, to whom she distributed her part of the sceptre, neither had nor desired light, but touched indiscriminately whatever Power or Interest happened to exhibit. The companions of Malevolence were supplied by the Furies with a torch, which had this quality peculiar to infernal lustre, that its light fell only upon faults.
No light, but rather darkness visible
Serv’d only to discover sights of woe.
Milton.
With these fragments of authority, the slaves of Flattery and Malevolence marched out, at the command of their mistresses, to confer immortality, or condemn to oblivion. But the sceptre had now lost its power; and Time passes his sentence at leisure, without any regard to their determinations.
No. 4. SATURDAY, MARCH 31, 1750.
Simul et jucunda et idonea dicere vitæ.
Hor. A. P. 334.
And join both profit and delight in one.
Creech.
The works of fiction, with which the present generation seems more particularly delighted, are such as exhibit life in its true state, diversified only by accidents that daily happen in the world, and influenced by passions and qualities which are really to be found in conversing with mankind.
This kind of writing may be termed not improperly the comedy of romance, and is to be conducted nearly by the rules of comick poetry. Its province is to bring about natural events by easy means, and to keep up curiosity without the help of wonder: it is therefore precluded from the machines and expedients of the heroic romance, and can neither employ giants to snatch away a lady from the nuptial rites, nor knights to bring her back from captivity; it can neither bewilder its personages in deserts, nor lodge them in imaginary castles.
I remember a remark made by Scaliger upon Pontanus, that all his writings are filled with the same images; and that if you take from him his lilies and his roses, his satyrs and his dryads, he will have nothing left that can be called poetry. In like manner almost all the fictions of the last age will vanish, if you deprive them of a hermit and a wood, a battle and a shipwreck.
Why this wild strain of imagination found reception so long in polite and learned ages, it is not easy to conceive; but we cannot wonder that while readers could be procured, the authors were willing to continue it; for when a man had by practice gained some fluency of language, he had no further care than to retire to his closet, let loose his invention, and heat his mind with incredibilities; a book was thus produced without fear of criticism, without the toil of study, without knowledge of nature, or acquaintance with life.
The task of our present writers is very different; it requires, together with that learning which is to be gained from books, that experience which can never be attained by solitary diligence, but must arise from general converse and accurate observation of the living world. Their performances have, as Horace expresses it, plus oneris quantum veniæ minus, little indulgence, and therefore more difficulty. They are engaged in portraits of which every one knows the original, and can detect any deviation from exactness of resemblance. Other writings are safe, except from the malice of learning, but these are in danger from every common reader; as the slipper ill executed was censured by a shoemaker who happened to stop in his way at the Venus of Apelles.
But the fear of not being approved as just copiers of human manners, is not the most important concern that an author of this sort ought to have before him. These books are written chiefly to the young, the ignorant, and the idle, to whom they serve as lectures of conduct, and introductions into life. They are the entertainment of minds unfurnished with ideas, and therefore easily susceptible of impressions; not fixed by principles, and therefore easily following the current of fancy; not informed by experience, and consequently open to every false suggestion and partial account.
That the highest degree of reverence should be paid to youth, and that nothing indecent should be suffered to approach their eyes or ears, are precepts extorted by sense and virtue from an ancient writer, by no means eminent for chastity of thought. The same kind, though not the same degree, of caution, is required in every thing which is laid before them, to secure them from unjust prejudices, perverse opinions, and incongruous combinations of images.
In the romances formerly written, every transaction and sentiment was so remote from all that passes among men, that the reader was in very little danger of making any applications to himself; the virtues and crimes were equally beyond his sphere of activity; and he amused himself with heroes and with traitors, deliverers and persecutors, as with beings of another species, whose actions were regulated upon motives of their own, and who had neither faults nor excellencies in common with himself.
But when an adventurer is levelled with the rest of the world, and acts in such scenes of the universal drama, as may be the lot of any other man; young spectators fix their eyes upon him with closer attention, and hope, by observing his behaviour and success, to regulate their own practices, when they shall be engaged in the like part.
For this reason these familiar histories may perhaps be made of greater use than the solemnities of professed morality, and convey the knowledge of vice and virtue with more efficacy than axioms and definitions. But if the power of example is so great as to take possession of the memory by a kind of violence, and produce effects almost without the intervention of the will, care ought to be taken, that, when the choice is unrestrained, the best examples only should be exhibited; and that which is likely to operate so strongly, should not be mischievous or uncertain in its effects.
The chief advantage which these fictions have over real life is, that their authors are at liberty, though not to invent, yet to select objects, and to cull from the mass of mankind, those individuals upon which the attention ought most to be employed; as a diamond, though it cannot be made, may be polished by art, and placed in such a situation, as to display that lustre which before was buried among common stones.
It is justly considered as the greatest excellency of art, to imitate nature; but it is necessary to distinguish those parts of nature, which are most proper for imitation: greater care is still required in representing life, which is so often discoloured by passion, or deformed by wickedness. If the world be promiscuously described, I cannot see of what use it can be to read the account; or why it may not be as safe to turn the eye immediately upon mankind as upon a mirrour which shews all that presents itself without discrimination.
It is therefore not a sufficient vindication of a character, that it is drawn as it appears; for many characters ought never to be drawn: nor of a narrative, that the train of events is agreeable to observation and experience; for that observation which is called knowledge of the world, will be found much more frequently to make men cunning than good. The purpose of these writings is surely not only to shew mankind, but to provide that they may be seen hereafter with less hazard; to teach the means of avoiding the snares which are laid by Treachery for Innocence, without infusing any wish for that superiority with which the betrayer flatters his vanity; to give the power of counteracting fraud, without the temptation to practise it; to initiate youth by mock encounters in the art of necessary defence, and to increase prudence without impairing virtue.
Many writers, for the sake of following nature, so mingle good and bad qualities in their principal personages, that they are both equally conspicuous; and as we accompany them through their adventures with delight, and are led by degrees to interest ourselves in their favour, we lose the abhorrence of their faults, because they do not hinder our pleasure, or, perhaps, regard them with some kindness, for being united with so much merit.
There have been men indeed splendidly wicked, whose endowments threw a brightness on their crimes, and whom scarce any villany made perfectly detestable, because they never could be wholly divested of their excellencies; but such have been in all ages the great corrupters of the world, and their resemblance ought no more to be preserved, than the art of murdering without pain.
Some have advanced, without due attention to the consequences of this notion, that certain virtues have their correspondent faults, and therefore that to exhibit either apart is to deviate from probability. Thus men are observed by Swift to be “grateful in the same degree as they are resentful.” This principle, with others of the same kind, supposes man to act from a brute impulse, and pursue a certain degree of inclination, without any choice of the object; for, otherwise, though it should be allowed that gratitude and resentment arise from the same constitution of the passions, it follows not that they will be equally indulged when reason is consulted; yet, unless that consequence be admitted, this sagacious maxim becomes an empty sound, without any relation to practice or to life.
Nor is it evident, that even the first motions to these effects are always in the same proportion. For pride, which produces quickness of resentment, will obstruct gratitude, by unwillingness to admit that inferiority which obligation implies; and it is very unlikely that he who cannot think he receives a favour, will acknowledge or repay it. It is of the utmost importance to mankind, that positions of this tendency should be laid open and confuted; for while men consider good and evil as springing from the same root, they will spare the one for the sake of the other, and in judging, if not of others at least of themselves, will be apt to estimate their virtues by their vices. To this fatal errour all those will contribute, who confound the colours of right and wrong, and, instead of helping to settle their boundaries, mix them with so much art, that no common mind is able to disunite them.
In narratives where historical veracity has no place, I cannot discover why there should not be exhibited the most perfect idea of virtue; of virtue not angelical, nor above probability, for what we cannot credit, we shall never imitate, but the highest and purest that humanity can reach, which, exercised in such trials as the various revolutions of things shall bring upon it, may, by conquering some calamities, and enduring others, teach us what we may hope, and what we can perform. Vice, for vice is necessary to be shewn, should always disgust; nor should the graces of gaiety, or the dignity of courage, be so united with it, as to reconcile it to the mind. Wherever it appears, it should raise hatred by the malignity of its practices, and contempt by the meanness of its stratagems: for while it is supported by either parts or spirit, it will be seldom heartily abhorred. The Roman tyrant was content to be hated, if he was but feared; and there are thousands of the readers of romances willing to be thought wicked, if they may be allowed to be wits. It is therefore to be steadily inculcated, that virtue is the highest proof of understanding, and the only solid basis of greatness; and that vice is the natural consequence of narrow thoughts; that it begins in mistake, and ends in ignominy .
