Зображення сторінки

Charles Lamb and his Friends.


ART. VI.-Final Memorials of Charles Lamb. By THOMAS

Noon TALFOURD. 2 vols. London: 1848.

It sounds paradoxical, but is not so in a bad sense, to saythat in every literature of large compass some authors will be found to rest much of the interest which surrounds them on their essential non-popularity. They are good for the very reason that they are not in conformity to the current taste. They interest because to the world they are not interesting. They attract by means of their repulsion. Not as though it could separately furnish a reason for loving a book—that the majority of men had found it repulsive. Prima facie, it must suggest some presumption against a book—that it has failed to engage public attention. To have roused hostility indeed, to have kindled a feud against its own principles or its temper, may happen to be a good sign. That argues power. Hatred may be promising. The deepest revolutions of mind sometimes begin in hatred. But simply to have left a reader unimpressed—is in itself a neutral result, from which the inference is doubtful. Yet even that, even simple failure to impress, may happen at times to be a result from positive powers in a writer, from special originalities, such as rarely reflect themselves in the mirror of the ordinary understanding. It seems little to be perceived-how much the great scriptural* idea of the worldly and the unworldly is found to emerge in literature as well as in life. In reality the very same combinations of moral

qualities, infinitely varied, which compose the harsh physiognomy of what we call worldliness in the living groups of life, must unavoidably present themselves in books. A library divides into sections of worldly and unworldly, even as a crowd of men divides into that same majority and minority. The world has an instinct for recognising its own; and recoils from certain qualities when exemplified in books, with the same disgust or defective sympathy as would have governed it in real life. From qualities for instance of childlike simplicity, of shy profundity, or of inspired self-communion, the world does and must turn away its face towards grosser, bolder, more determined, or more intelligible expressions of character and intellect ;-and not otherwise in literature, nor at all less in literature, than it does in the realities of life.

Scripturalwe call it, because this element of thought, so indispensable to a profound philosophy of morals, is not simply more used in Scripture than elsewhere, but is so exclusively significant or intelligible amidst the correlative ideas of Scripture, as to be absolutely insusceptible of translation into classical Greek or classical Latin. It is disgraceful that more reflection has not been directed to the vast causes and consequences of so pregnaut a truth.

Charles Lamb, if any ever was, is amongst the class here contemplated ; he, if any ever has, ranks amongst writers whose works are destined to be for ever unpopular, and yet for ever interesting; interesting, moreover, by means of those very qualities which guarantee their non-popularity. The same qualities which will be found forbidding to the worldly and the thoughtless, which will be found insipid to many even amongst robust and powerful minds, are exactly those which will continue to command a select audience in every generation. The prose essays, under the signature of Elia, form the most delightful section amongst Lamb's works. They traverse a peculiar field of ohservation, sequestered from general interest; and they are composed in a spirit too delicate and unobtrusive to catch the ear of the noisy crowd, clamouring for strong sensations. But this retiring delicacy itself, the pensiveness chequered by gleams of the fanciful, and the humour that is touched with cross-lights of pathos, together with the picturesque quaintness of the objects casually described, whether men, or things, or usages, and, in the rear of all this, the constant recurrence to ancient recollections and to decaying forms of household life, as things retiring before the tumult of new and revolutionary generations ;-these traits in combination communicate to the papers a grace and strength of originality which nothing in any literature approaches, whether for degree or kind of excellence, except the most felicitous papers of Addison, such as those on Sir Roger de Coverly, and some others in the same vein of composition. They resemble Addison's papers also in the diction, which is natural and idiomatic, even to carelessness. They are equally faithful to the truth of nature; and in this only they differ remarkably—that the sketches of Elia reflect the stamp and impress of the writer's own character, whereas in all those of Addison the personal peculiarities of the delineator (though known to the reader from the beginning through the account of the Club) are nearly quiescent. Now and then they are recalled into a momentary 110tice, but they do not act, or at all modify his pictures of Sir Roger or Will Wimble. They are slightly and amiably eccentric; but the Spectator himself, in describing them, takes the station of an ordinary observer.

Everywhere, indeed, in the writings of Lamb, and not merely in his Elia, the character of the writer co-operates in an under current to the effect of the thing written. To understand in the fullest sense either the gaiety or the tenderness of a particular passage, you must have some insight into the peculiar bias of the writer's mind—whether native and original, or impressed gradually by the accidents of situation ; whether simply developed out of predispositions by the action of life, or violently scorched into

The Advantages of Sympathy with your Author. 181 the constitution by some fierce fever of calamity. There is in modern literature a whole class of writers, though not a large one, standing within the same category; some marked originality of character in the writer becomes a coefficient with what he says to a common result; you must sympathize with this personality in the author before you can appreciate the most significant parts of his views. In most books the writer figures as a mere abstraction, without sex or age or local station, whom the reader banishes from his thoughts. What is written seems to proceed from a blank intellect, not from a man clothed with fleshly peculiarities and differences. These peculiarities and differences neither do, nor (generally speaking) could intermingle with the texture of the thoughts so as to modify their force or their direction. In such books, and they form the vast majority, there is nothing to be found or to be looked for beyond the direct objective. (Sit venia verbo!) But, in a small section of books, the objective in the thought becomes confluent with the subjective in the thinker—the two forces unite for a joint product; and fully to enjoy that product, or fully to apprehend either element, both must be known. It is singular, and worth inquiring into, for the reason, that the Greek and Roman literature had no such books. Timon of Athens, or Diogenes, one may conceive qualified for this mode of authorship, had Journalism existed to rouse them in those days; their “ articles” would no doubt have been fearfully caustic. But, as they failed to produce anything, and Lucian in an after age is scarcely characteristic enough for the purpose, perhaps we may pronounce Rabelais and Montaigne the earliest of writers in the class described. In the century following theirs, came Sir Thomas Brown, and immediately after him La Fontaine. Then came Swift, Sterne, with others less distinguished: in Germany Hippel, the friend of Kant, Hamann the obscure, and the greatest of the whole body-John Paul Fr. Richter. In him, from the strength and determinateness of his nature as well as from the great extent of his writings, the philosophy of this interaction between the author as a human agency and his theme as an intellectual reagency, might best be studied. From him might be derived the largest number of cases illustrating boldly this absorption of the universal into the concrete-of the pure intellect into the human nature of the author. But nowhere could illustrations be found more interesting, -shy, delicate, evanescent-shy as lightning, delicate and evanescent as the coloured pencillings on afrosty night from the Northern Lights, than in the better parts of Lainb.

To appreciate Lamb, therefore, it is requisite that his character and temperament should be understood in their coyest and most wayward features. A capital defect it would be if these could

not be gathered silently from Lamb's works themselves. It would be a fatal mode of dependency upon an alien and separable accident if they needed an external commentary. But they do not. The syllables lurk up and down the writings of Lamb which decipher his eccentric nature. His character lies there dispersed in anagram; and to any attentive reader the regathering and restoration of the total word from its scattered parts is inevitable without an effort. Still it is always a satisfaction in knowing a result, to know also its why and how; and in so far as every character is likely to be modified by the particular experience, sad or joyous, through which the life has travelled, it is a good contribution towards the knowledge of that resulting character as a whole to have a sketch of that particular experience. What trials did it impose? What energies did it task? What temptations did it unfold? These calls upon the moral powers, which in music so stormy, many a life is doomed to hear, how were they faced? The character in a capital degree moulds oftentimes the life, but the life always in a subordinate degree moulds the character. And the character being in this case of Lamb so much of a key to the writings, it becomes important that the life should be traced, however briefly, as a key to the character.

That is one reason for detaining the reader with some slight record of Lamb's career. Such a record by preference and of right belongs to a case where the intellectual display, which is the sole ground of any public interest at all in the man, has been intensely modified by the humanities and moral personalities distinguishing the subject. We read a Physiology, and need no information as to the life and conversation of its author: a meditative poem becomes far better understood by the light of such information ; but a work of genial and at the same time eccentric sentiment, wandering upon untrodden paths, is barely intelligible without it. There is a good reason for arresting judgment on the writer, that the court may receive evidence on the life of the man. But there is another reason, and, in any other place, a better; which reason lies in the extraordinary value of the life considered separately for itself. Logically, it is not allowable to say that here; and, considering the principal purpose of this paper, any possible independent value of the life must rank as a better reason for reporting it. Since, in a case where the original object is professedly to estimate the writings of a man, whatever promises to further that object must, merely by that tendency, have, in relation to that place, a momentary advantage which it would lose if valued upon a more abstract scale. Liberated from this casual office of throwing light upon a book-raised to its grander station of a solemn deposition to the moral capacities of man in conflict with calamity-viewed as a return made

The Sweetness of Submission.



into the chanceries of heaven-upon an issue directed from that court to try the amount of power lodged in a poor desolate pair of human creatures for facing the very anarchy of stormis--this obscure life of the two Lambs, brother and sister, (for the two lives were one life,) rises into a grandeur that is not paralleled once in a generation.

Rich, indeed, in moral instruction was the life of Charles Lamb; and perhaps in one chief result it offers to the thoughtful observer a lesson of consolation that is awful, and of hope that ought to be imunortal, viz., in the record which it furnishes, that by meekness of submission, and by earnest conflict with evil, in the spirit of cheerfulness, it is possible ultimately to disarm or to blunt the very heaviest of curses—even the curse of lunacy. Had it been whispered, in hours of infancy, to Lamb, by the angel who stood by his cradle—“ Thou, and the sister that walks by ten years before thee, shall be through life, each to each, the solitary fountain of comfort; and except it be from this fountain of mutual love, except it be as brother and sister, ye shall not taste the

cup peace on earth !"-here, if there was sorrow in reversion, there was also consolation.

But what funeral swamps would have instantly engulfed this consolation had some meddling fiend prolonged the revelation, and, holding up the curtain from the sad future a little longer, had said scornfully—“Peace on earth! Peace for you two, Charles and Mary Lamb! What peace is possible under the curse which even now is gathering against your heads ? Is there peace on earth for the lunatic-peace for the parenticide-peace for the girl that, without warning, and without time granted for a penitential cry to heaven, sends her mother to the last audit ?” And then, without treachery, speaking bare truth, this prophet of wo might have added—“ Thou also, thyself, Charles Lamb, thou in thy proper person, shalt enter the skirts of this dreadful hail-storm : even thou shalt taste the secrets of lunacy, and enter as a captive its house of bondage; whilst over thy sister the accursed scorpion shall hang suspended through life, like Death hanging over the beds of hospitals, striking at times, but more often threatening to strike; or withdrawing its instant menaces only to lay bare her mind more bitterly to the persecutions of a haunted memory!” Considering the nature of the calamity, in the first place ; considering, in the second place, its life-long duration; and, in the last place, considering the quality of the resistance by which it was met, and under what circumstances of humble resources in money or friends—we have come to the deliberate judgment, that the whole range of history scarcely presents a more affecting spectacle of perpetual sorrow, humiliation, or conflict, and that was supported to the end, (that is, through

« НазадПродовжити »