href="#n11" type="note">11
There is a most striking passage to the same purport, in that beautiful dialogue on ancient oratory, which has been ascribed, without any very satisfactory evidence, to various authors, particularly to Quinctilian, the younger Pliny, and Tacitus, and which is not unworthy of the most eminent of the names to which it has been ascribed. After dwelling on the universal science and erudition of the great master of Roman eloquence, the chief speaker in the dialogue proceeds to show the peculiar advantage which oratory must derive from moral and intellectual science, to the neglect of which fundamental study, as superseded by the frivolous disputations of the rhetorical schools, he ascribes the decay of eloquence in the age of which he speaks.
“Ita enim est, optimi viri, ita, ex multa eruditione, ex pluribus artibus, et omnium rerum scientia, exundat et exuberat illa admirabilis eloquentia. Neque oratoris vis et facultas, sicut ceterarum rerum, angustis et brevibus terminis eluditur; sed is est orator, qui de omni quæstione pulchre, et ornate, et ad persuadendum apte dicere, pro dignitate rerum ad utilitatem temporum, cum voluptate audientium, possit. Hæc sibi illi veteres persuadebant. Ad hæc efficienda intelligebant opus esse, non ut Rhetorum scholis declamarent, – sed ut his artibus pectus implerent, in quibus de bonis ac malis, de honesto ac turpi, de justo et injusto disputatur; – de quibus copiose, et varie, et ornate, nemo dicere potest, nisi qui cognovit naturam humanam. – Ex his fontibus etiam illa profluunt, ut facilius iram judicis vel instiget, vel leniat, qui scit quid ira, promptius ad miserationem impellat qui scit quid sit misericordia, et quibus animi motibus concitetur. In his artibus exercitationibusque versatus orator, sive apud infestos, sive apud cupidos, sive apud invidentes, sive apud tristes, sive apud timentes dicendum habuerit, tenebit habenas animorum, et prout cujusque natura postulabit, adhibebit manum et temperabit orationem, parato omni instrumento, et ad usum reposito.”12
What is the whole art of criticism, in its most important applications, but the knowledge of the most natural successions of thought and feeling in the mind? We judge of the perspicuity and order of a discourse, by knowing the progress in which the mind, by the developement of truth after truth, may be made at last to see the full meaning of the most complex proposition. We judge of the beauty of impassioned poetry or eloquence, by knowing whether the figures, the images, the very feelings described, be such as, from our observation of the laws that regulate the internal series of changes in the mind, we know to be consistent with that state of emotion, in which a mind must exist that has been placed in the situation supposed. If all other circumstances be equal, he will undoubtedly be the best critic, who knows best the phenomena of human thought and feeling; and, without this knowledge, criticism can be nothing but a measurement of words, or a repetition of the ever repeated and endless common places of rhetoric. The knowledge of nature, – of the necessity of which critics speak so much, and so justly, and which is as essential to the critic himself, as to the writer on whom he sits in judgment, – is only another name for the knowledge of the successive transitions of feeling of the mind, in all the innumerable diversities in which it is capable of being modified, by the variety of circumstances in which it maybe placed. It is for this reason, that, with so great an abundance of the mere art, or rather of the mere technical phrases of criticism, we have so very little of the science of it; because the science of criticism implies an acquaintance with the philosophy of thought and passion, which few can be expected to possess; and though nothing can be easier than to deliver opinions, such as pass current in the drawing-room, and even in the literary circle, which the frivolous may admire as profound, and the ignorant as erudite, and which many voices may be proud to repeat; though even the dull and pedantic are as able as the wise to say, in fluent language, that one passage of a work of genius is beautiful, and another the reverse, – because one of them is in accordance with some technical rules, or because Homer and Milton have passages similar to the one, and not to the other: it is far from being equally easy to show, how the one passage is beautiful, from its truth of character, and the other, though perhaps rich in harmony of rhythm and rhetorical ornament, is yet faulty, by its violation of the more important harmony of thought and emotion, – a harmony which nature observes as faithfully, in the progress of those vehement passions that appear most wild and irregular, as in the calmest successions of feeling of the most tranquil hours. It would indeed, be too much to say, as in the well known couplet of Pope,
“Let such teach others who themselves excel,
And censure freely, who have written well;”13
for the critic requires only one of the two great talents, which in the poet, ought to exist together, but which may yet exist separately. In the poet, there must be, in the first place, an inventive fancy to bring together thoughts and images which have never been combined before; and with this inventive fancy, a discriminating judgment, which is to measure, by the standard of nature, the products of invention; and to retain them, only if they appear such, as though perhaps never before combined, might yet, in conformity with the natural laws of thought, have occurred to a mind, in the circumstances represented, as truly, as the other thoughts or images, which the works of other poets have rendered more familiar. This latter talent, – the judgment which determines the intrinsic beauty and fidelity to general nature, – is all which is absolutely requisite to the critic, who is not, therefore, under the necessity of being himself “the great sublime” which he draws. Yet, though all the elements of excellence in the artist are not absolutely requisite for the judgment of the sage and discriminating admirer of the noble works which that excellence may have produced, some of these elements unquestionably are requisite, – elements, for which the critic may search in vain in all the rules of rhetoricians, and even in the perusal of all the masterpieces of ancient and modern times, unless, to an acquaintance with these, he add an accurate acquaintance with that intellectual and moral nature of man, the beautiful conformity to which was the essential charm of all the pathos, and all the eloquence, which he has admired.
There is another art, however, to which knowledge of the intellectual and moral nature of man is still more important – that noble art, which has the charge of training the ignorance and imbecility of infancy into all the virtue, and power, and wisdom of maturer manhood – of forming, of a creature, the frailest and feeblest perhaps which heaven has made, the intelligent and fearless sovereign of the whole animated creation, the interpreter, and adorer, and almost the representative of the Divinity. The art, which performs a transformation so wondrous, cannot but be admirable itself; and it is from observation of the laws of mind, that all which is most admirable in it is derived. These laws we must follow indeed, since they exist not by our contrivance, but by the contrivance of that nobler wisdom, from which the very existence of the mind has flowed; yet, if we know them well, we can lead them, in a great measure, even while we follow them. And, while the helpless subject of this great moral art is every moment requiring our aid, – with an understanding that may rise, from truth to truth, to the sublimest discoveries, or may remain sunk forever in ignorance, and with susceptibilities of vice that may be repressed, and of virtue that may be cherished, – can we know too well the means of checking what is evil, and of fostering what is good? It is too late to lie by, in indolent indulgence of affection, till vice be already formed in the little being whom we love, and to labour then to remove it, and to substitute the virtue that is opposite to it. Vice already formed, is almost beyond our power. It is only in the state of latent propensity, that we can with much reason expect to overcome it by the moral motives which we are capable of presenting; and to distinguish this propensity before it has expanded itself, and even before it is known to the very mind in which it exists, – to tame those passions which are never to rage, and to prepare, at a distance, the virtues of other years, – implies a knowledge of the mental constitution, which can be acquired only by a diligent study of the nature, and progress, and successive transformations of feeling. It is easy to know, that praise or censure, reward or punishment, may increase or lessen, the tendency to the repetition of any particular action; and this, together with the means of elementary instruction, is all which is commonly termed education. But the true science of education is something far more than this. It implies a skilful observation of the past, and that long foresight of the
Tacitus, edit. Lipsii, p. 484, 5.
Essay on Criticism, v. 15, 16.
