made its possessor indifferent to everything else. For a man without this heavenly stamp to engage in literature was simply for him to rush upon his fate, and become a public nuisance. Literature in its very nature is precarious, and must be plucked from the brink of fate, from the mouth of the dragon. The literary man runs the risk of being destroyed in a thousand ways. He has no track laid, no instituted aids, no specified course of action. The machineries of life are not for him. He enters into no one of the departments of human routine. He has no relations with the course of the dull world; he is not quite a man, as the world goes, and not at all an angel, as the celestials see. He must be his own motive, path, and guide, his own priest, king, and law. The world may be his footstool, and may be his slough of despond, but is never his final end. His aims are transcendental, his realm is art, his interests ideal, his life divine, his destiny immortal. All the old theories of saintship are revived in him. He is in the world, but not of it. Shadows of infinitude are his realities. He sees only the starry universe, and the radiant depths of the soul. Martyrdom may desolate, but cannot terrify him. If he be a genius, if his soul crave only his idea, and his body fare unconsciously well on bread and water, then his lot is happy, and fortune can present no ills which will not shrink before his burning eye. But if he be less than this, he is lost, the sport of devouring elements. As he fights fate on the border of ruin, so much the more should he be animated by courage, ambition, pride, purpose, and faith. To him literature is a high adventure, and impossible as a profession. A profession is an instituted department of action, resting upon universal and constant needs, and paying regular dividends. But the fine arts must in their nature be lawless. Appointments cannot be made for them any more than for the thunder-storms which sweep the sky. They die when they cease to be wild. Literary life, at its best, is a desperate play, but it is with guineas, and not with coppers, to all who truly play it. Its elements would not be finer, were they the golden and potent stars of alchemistic and astrological dreams.
Such was genius, and such was literature, in the representation of their first great lawgiver. But the world has changed. The sad story of the calamities of authors need not be repeated. We live in the age of authors triumphant. By swiftly succeeding and countless publications they occupy the eye of the world, and achieve happiness before their death. The stratagems of literature mark no longer a struggle between genius and the bailiffs. What was once a desperate venture is now a lucrative business. What was once a martyrdom is now its own reward. What once had saintly unearthliness is now a powerful motor among worldly interests. What was once the fatality of genius is now the aspiration of fools. The people have turned to reading, and have become a more liberal patron than even the Athenian State, monastic order, or noble lord. No longer does the literary class wander about the streets, gingerbread in its coat-pockets, and rhymes written on scraps of paper from the gutter in its waistcoat-pockets. No longer does it unequally compete with clowns and jockeys for lordly recognition. No longer are the poet and the fool court-rivals. No longer does it look forward to the jail as an occasional natural resting-place and paradise. No longer must the author renounce the rank and robe of a gentleman to fall from airy regions far below the mechanical artists to the level of clodhoppers, even whose leaden existence was a less precarious matter. The order of scholars has ceased to be mendicant, vagabond, and eremite. It no longer cultivates blossoms of the soul, but manufactures objects of barter. Now is the happy literary epoch, when to be intellectual and omniscient is the public and private duty of every man. To read newspapers by the billion and books by the million is now the common law. We can conceive of Disraeli moaning that the Titan interests of the earth have overthrown the celestial hierarchy,—that the realm of genius has been stormed by worldly workers,—that literature, like the angels, has fallen from its first estate,—and that authors, no longer the disinterested and suffering apostles, of art, have chosen rather to bear the wand of power and luxury than to be inspired. We can imagine his horror at the sacrilegious vulgarization of print, that people without taste rush into angelic metre, that dunces and sages thrive together on the public indiscrimination. How would he marvel to see literary reputations born, grow old, and die within a season, the owners thereof content to be damned or forgotten eternally for a moment's incense or an equally fugitive shilling. Nectar and ambrosia mean to them only meanness, larceny, sacrilege, and bread and butter.
And yet, notwithstanding the imaginary reproaches of our great literary church-father, the most preciously endowed minds are still toiling in letters. The sad and tortured devotion of genius still works itself out in them. Writing is now a marvellous craft and industry. The books which last, the books of a season, the quarterlies, monthlies, weeklies, dailies, and even the hourlies, are among the institutions of its fostering. Nor should that vehicle, partly of intelligence, but chiefly of sentiment, the postal system, be unmentioned, which men and women both patronize, each after their kind. Altogether, perhaps, in some way or other, seven-eighths of the life of man is taken up by the Cadmean Art. The whole fair domain of learning belongs to it; for nowhere now, in garden, grove, or Stoical Porch, with only the living voices of man and Nature, do students acquaint themselves with the joyous solemnities, the mysterious certainties of thought. The mind lives in a universe of type. There is no other art in which so desperate adventures are made. Indeed, the normal mental state of the abundant writer is a marvellous phenomenon. The literary faculty is born of the marriage of chronic desperation with chronic trust. This may account in part for that peculiar condition of mind which is both engendered and required by abundant writing. A bold abandon, a desperate guidance, a thoughtless ratiocination, a mechanical swaying of rhetoric, are the grounds of dissertation. A pause for a few days, a visit to the country, anything that would seem designed to restore the mind to its normal state, destroys the faculty. The weary penman, who wishes his chaotic head could be relieved by being transformed even as by Puck, knows that very whirling chaos is the condition of his multitudinous periods. It seems as if some special sluices of the soul must be opened to force the pen. One man, on returning to his desk from a four weeks' vacation, took up an unfinished article which he had left, and marvelled that such writing should ever have proceeded from him. He could hardly understand it, still less could he conceive of the mental process by which he had once created it. That process was a sort of madness, and the discipline of newspapers is inflicting it alike upon writers and readers. Demoralization is the result of a life-long devotion to the maddening rumors of the day. It takes many a day to recall that fierce caprice, as of an Oriental despot, with which he watches the tiger-fights of ideas, and strikes off periods, as the tyrant strikes off heads.
And while no other art commands so universal homage, no other is so purely artificial, so absolutely unsymbolical. The untutored mind sees nothing in a printed column. A library has no natural impressiveness. It is not in the shape of anything in this world of infinite beauty. The barbarians of Omri destroyed one without a qualm. They have occupied apartments in seraglios, but the beauties have never feared them as rivals. Of all human employments, writing is the farthest removed from any touch of Nature. It is at most a symbolism twice dead and buried. The poetry in it lies back of a double hypothesis. Supposing the original sounds to have once been imitations of the voices of Nature, those sounds have now run completely away from what they once represented; and supposing that letters were once imitations of natural signs, they have long since lost the resemblance, and have become independent entities. Whatever else is done by human artifice has in it some relic of Nature, some touch of life. Painting copies to the eye, music charms the ear, and all the useful arts have something of the aboriginal way of doing things about them. Even speech has a living grace and power, by the play of the voice and eye, and by the billowy flushes of the countenance. Mental energy culminates in its modulations, while the finest physical features combine to make them a consummate work of art. But all the musical, ocular, and facial beauties are absent from writing. The savage knows, or could quickly guess, the use of the brush or chisel, the shuttle or locomotive, but not of the pen. Writing is the only dead art, the only institute of either gods or men so artificial that the natural mind can discover nothing significant in it.
For instance, take one of the disputed statements of the Nicene Creed, examine it by the nicest powers of the senses, study it upwards, downwards, and crosswise, experiment to learn if it has any mysterious chemical forces in it, consider its figures in relation to any astrological positions, to any natural signs of whirlwinds, tempests, plagues, famine, or earthquakes, try long to discover some hidden symbolism in it, and confess finally that no man
