4.

and his marriage. Delany, his biographer, having once found him talking with Archbishop King, saw the archbishop in tears, and Swift rushing by, with a countenance full of grief, and a distracted air. "Sir," said the prelate, "you have just met the most unhappy man upon earth; but on the subject of his wretchedness you must never ask a question." Esther Johnson died. Swift's anguish, the spectres by which he was haunted, the remembrance of the two women, slowly ruined and killed by his fault, continually encompassed him with such horrors, that only his end reveals them. "It is time for me to have done with the world . . . and so I would . . . and not die here in a rage, like a poisoned rat in a hole." Overwork and excess of emotion had made him ill from his youth; he was subject to giddiness; he lost his hearing. He had long felt that reason was deserting him. One day he was observed "gazing intently at the top of a lofty elm, the head of which had been blasted. Upon his friend's approach, he pointed to it, significantly adding, 'I shall be like that tree, and die first at the top.' His memory left him; he received the attentions of others with disgust, sometimes with rage. He lived alone, gloomy, unable to read. It is said that he passed a whole year without uttering a word, hating the sight of a human being, walking ten hours a day, a maniac, then an idiot. A tumor came on one of his eyes, so that he continued a month without sleeping, and five men were needed to prevent his tearing out the eye with his nails. One of his last words was, "I am a fool." When his will was opened, it was found that he had left his whole fortune to build a madhouse.

II.

These passions and these miseries were necessary to inspire Gulliver's Travels and the Tale of a Tub.

A strange and powerful form of mind, too, was necessary, as English as his pride and his passions. Swift has the style of a surgeon and a judge, cold, grave, solid, unadorned, without vi vacity or passion, manly and practical. He desired neither to please, nor to divert, nor to carry people away, nor to move the feelings; he never hesitated, nor was redundant, nor was excited,

1 Letter to Bolingbroke, Dublin, March 21, 1728, xvii. 276.

Roscoe's Life of Swift, i. 80.

nor made an effort. He expressed his thoughts in a uniform tone, with exact, precise, often harsh terms, with familiar comparisons, leveling all within reach of his hand, even the loftiest things-especially the loftiest-with a brutal and always haughty coolness. He knows life as a barker knows accounts; and his total once made up, he scorns or knocks down the babblers who dispute it in his presence.

He knows the items as well as the sum total. He not only familiarly and vigorously seized on every object, but he also decomposed it, and kept an inventory of its details His imagination was as minute as it was energetic. He could give you a statement of dry facts on every event and object, so connected and natural as to deceive any man. Gulliver's Travels read like a log-book. Isaac Bickerstaff's predictions were taken literally by the inquisition in Portugal. His account of M. du Baudrier seems an authentic translation. He gives to an extravagant romance the air of a genuine history. By this thorough knowledge of details he imports into literature the positive spirit of men of business and experience. Nothing could be more vigorous, narrow, unhappy, for nothing could be more destructive. No greatness, false or true, can stand before him; whatsoever he fathoms and takes in hand loses at once its prestige and value. Whilst he decomposes he displays the real ugliness, and removes the fictitious beauty of objects. Whilst he brings them to the level of common things, he suppresses their real beauty, and gives them a fictitious ugliness. He presents all their gross features, and nothing but their gross features. Look with him. into the physical details of science, religion, state, and with him reduce science, religion, state, to the low standing of every-day events; with him you will see here a Bedlam of shriveled-up dreamers, narrow and chimerical brains, busy in contradicting each other, picking up meaningless phrases in mouldy books, inventing conjectures, and crying them up for truth; there, a band of enthusiasts, mumbling phrases which they do not understand, adoring figures of rhetoric as mysteries, attaching ideas of holiness or impiety to lawn-sleeves or postures, spending in persecutions or genuflexions the surplus of sheepish or ferocious folly with which an evil fate has crammed their brains; there, again, flocks of idiots pouring out their blood and treasure for the whims or plots of a carriage-drawn aristocrat, out of respect

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31

for the carriage which they themselves have given him. What part of human nature or existence can continue great and beautiful, before a mind which, penetrating all details, perceives men eating, sleeping, dressing, in all mean and low actions, degrading everything to the level of vulgar events, trivial circumstances of dress and cookery? It is not enough for the positive mind to see the springs, pulleys, lamps, and whatever there is objectionable in the opera at which he is present; he makes it more objectionable by calling it a show. It is not enough not to ignore anything; we must also refuse to admire He treats things like domestic utensils; after reckoning up their materials, he gives them a vile name. Nature for him is but a caldron, and he knows the proportion and number of the ingredients simmering in it. In this power and this weakness we see beforehand the misanthropy and the talent of Swift.

There are, indeed, but two modes of agreeing with the world: mediocrity of mind and superiority of intelligence—the one for the public and the fools, the other for artists and philosophers: the one consists in seeing nothing, the other in seeing all. We will respect the respectable, if we see only the surface-if we take them as they are, if we let ourselves be duped by the fine show which they never fail to present. We will revere the gold'embroidered garments with which our masters bedizen themselves, and we will never dream of examining the stains hidden under the embroidery. We will be moved by the big words which they pronounce in a sublime voice, and we will never see in their pockets the hereditary phrase-book from which they have taken them. We will punctiliously bring them our money and our services; the custom will seem to us just, and we will accept the goose-dogma, that a goose is bound to be roasted. But, on the other hand, we will tolerate and even love the world, if, penetrating to its nature, we take the trouble to explain or imitate its mechanism. We will be interested in passions by an artist's sympathy or a philosopher's comprehension; we will find them natural whilst admitting their force, or we will find them necessary whilst computing their connection; we will cease to be indignant against the powers which produce fine spectacles, or will cease to be roused by the rebounds which the law of cause and effect had foretold. We will admire the world as a grand drama, or as an invincible development; and we will be

preserved by imagination or by logic from slander or disgust. We will extract from religion the lofty truths which dogmas hide, and the generous instincts which superstition conceals. We will perceive in the state the infinite benefits which no tyranny abolishes, and the sociable inclinations which no wickedness uproots. We will distinguish in science the solid doctrines which discussion never shakes, the liberal notions which the shock of systems purifies and unfolds, the splendid promises which the progress of the present time opens up to the ambition of the future. We can thus escape hatred by the nullity or the greatness of the prospect, by the inability to discover contrasts, or by the power to discover the harmony of contrasts. Raised above the first, sunk beneath the last, seeing evil and disorder, ignoring goodness and harmony, excluded from love and calmness, given up to indignation and bitterness, Swift found neither a cause to cherish, nor a doctrine to establish; he employs the whole force of an excellently armed mind and a thoroughly trained character in decrying and destroying: all his works are pamphlets.

III.

At this time, and in his hands, the newspaper in England attained its proper character and its greatest force. Literature entered the sphere of politics. To understand what the one became, we must understand what the other was: art depended upon political business, and the spirit of parties made the spirit of writers.

In France a theory arises-eloquent, harmonious, and generous; the young are enamored of it, wear a cap and sing songs in its honor: at night, the citizens, while digesting their dinner, read it and delight in it; some, hotheaded, accept it, and prove to themselves their strength of mind by ridiculing those who are behind the times. On the other hand, the established people, prudent and timid, are mistrustful: being well off, they find that everything is well, and demand that things shall continue as they Such are the two parties in France, very old, as we all

are.

1 In his Thoughts on Religion (viii. 173) he says: "The want of belief is a defect that ought to be concealed, when it cannot be overcome." "I look upon myself, in the capacity of a clergyman, to be one appointed by Providence for defending a post assigned me, and for gaining over as many enemies as I can."

know; not very earnest, as everybody can see. They must talk, be enthusiastic, reason on speculative opinions, glibly, about an hour a day, indulging but outwardly in this taste; but these parties are so equally leveled, that they are at bottom all the same: when we understand them rightly, we will find in France only two parties, the men of twenty and the men of forty. English parties, on the other hand, were always compact and living bodies, united by interests of money, rank, and conscience, receiving theories only as standards or as a balance, a sort of secondary States, which, like the two old orders in Rome, legally endeavor to monopolize the government. So, the English constitution was never more than a transaction between distinct powers, compelled to tolerate each other, disposed to encroach on each other, occupied in treating with each other. Politics for them are a domestic interest, for the French an occupation of the mind; Englishmen make them a business, the French a discussion.

Thus their pamphlets, notably Swift's, seem to us only half literary. For an argument to be literary, it must not address itself to an interest or a faction, but to the pure mind: it must be based on universal truths, rest on absolute justice, be able to touch all human reasons; otherwise, being local, it is simply useful: nothing is beautiful but what is general. It must also be developed regularly by analysis, and with exact divisions; its distribution must give a picture of pure reason; the order of ideas must be inviolable; every mind must be able to draw thence with ease a complete conviction; its method, its principles, must be sensible throughout, in all places and at all times. The desire to prove well must be added to the art of proving well; the writer must announce his proof, recall it, present it under all its faces, desire to penetrate minds, pursue them persistently in all their retreats; but at the same time he must treat his hearers like men worthy of comprehending and applying general truths; his discourse must be lively, noble, polished, and fervid, so as to suit such subjects and such minds. It is thus that classical prose and French prose are eloquent, and that political dissertations or religious controversies have endured as models of art.

This good taste and philosophy are wanting in the positive mind; it wishes to attain not eternal beauty, but present success. Swift does not address men in general, but certain men.

He