by tried wrestlers; evil thoughts are put to flight when the eye falls on the portrait of one in whose living presence one would have blushed to own them." A Catholic money-lender, when about to cheat, was wont to draw a veil over the picture of his favourite saint. So Hazlitt has said of the portrait of a beautiful female, that it seemed as if an unhandsome action would be impossible in its presence. "It does one good to look upon his manly honest face," said a poor German woman, pointing to a portrait of the great Reformer hung upon the wall of her humble dwelling.
Even the portrait of a noble or a good man, hung up in a room, is companionship after a sort. It gives us a closer personal interest in him. Looking at the features, we feel as if we knew him better, and were more nearly related to him. It is a link that connects us with a higher and better nature than our own. And though we may be far from reaching the standard of our hero, we are, to a certain extent, sustained and fortified by his depicted presence constantly before us.
Fox was proud to acknowledge how much he owed to the example and conversation of Burke. On one occasion he said of him, that "if he was to put all the political information he had gained from books, all that he had learned from science, or that the knowledge of the world and its affairs taught him, into one scale, and the improvement he had derived from Mr. Burke's conversation and instruction into the other, the latter would preponderate."
Professor Tyndall speaks of Faraday's friendship as "energy and inspiration." After spending an evening with him he wrote: "His work excites admiration, but contact with him warms and elevates the heart. Here, surely, is a strong man. I love strength, but let me not forget the example of its union with modesty, tenderness, and sweetness, in the character of Faraday."
Even the gentlest natures are powerful to influence the character of others for good. Thus Wordsworth seems to have been especially impressed by the character of his sister Dorothy, who exercised upon his mind and heart a lasting influence. He describes her as the blessing of his boyhood as well as of his manhood. Though two years younger than himself, her tenderness and sweetness contributed greatly to mould his nature, and open his mind to the influences of poetry:
"She gave me eyes, she gave me ears,
And humble cares, and delicate fears;
A heart, the fountain of sweet tears,
And love and thought and joy."
Thus the gentlest natures are enabled, by the power of affection and intelligence, to mould the characters of men destined to influence and elevate their race through all time.
Sir William Napier attributed the early direction of his character, first to the impress made upon it by his mother, when a boy; and afterwards to the noble example of his commander, Sir John Moore, when a man. Moore early detected the qualities of the young officer; and he was one of those to whom the General addressed the encouragement, "Well done, my majors!" at Corunna. Writing home to his mother, and describing the little court by which Moore was surrounded, he wrote, "Where shall we find such a king?" It was to his personal affection for his chief that the world is mainly indebted to Sir William Napier for his great book, 'The History of the Peninsular War.' But he was stimulated to write the book by the advice of another friend, the late Lord Langdale, while one day walking with him across the fields on which Belgravia is now built. "It was Lord Langdale," he says, "who first kindled the fire within me." And of Sir William Napier himself, his biographer truly says, that "no thinking person could ever come in contact with him without being strongly impressed with the genius of the man."
The career of the late Dr. Marshall Hall was a lifelong illustration of the influence of character in forming character. Many eminent men still living trace their success in life to his suggestions and assistance, without which several valuable lines of study and investigation might not have been entered on, at least at so early a period. He would say to young men about him, "Take up a subject and pursue it well, and you cannot fail to succeed." And often he would throw out a new idea to a young friend, saying, "I make you a present of it; there is fortune in it, if you pursue it with energy."
Energy of character has always a power to evoke energy in others. It acts through sympathy, one of the most influential of human agencies. The zealous energetic man unconsciously carries others along with him. His example is contagious, and compels imitation. He exercises a sort of electric power, which sends a thrill through every fibre—flows into the nature of those about him, and makes them give out sparks of fire.
Dr. Arnold's biographer, speaking of the power of this kind exercised by him over young men, says: "It was not so much an enthusiastic admiration for true genius, or learning, or eloquence, which stirred within them; it was a sympathetic thrill, caught from a spirit that was earnestly at work in the world—whose work was healthy, sustained, and constantly carried forward in the fear of God—a work that was founded on a deep sense of its duty and its value." 127
Such a power, exercised by men of genius, evokes courage, enthusiasm, and devotion. It is this intense admiration for individuals—such as one cannot conceive entertained for a multitude—which has in all times produced heroes and martyrs. It is thus that the mastery of character makes itself felt. It acts by inspiration, quickening and vivifying the natures subject to its influence.
Great minds are rich in radiating force, not only exerting power, but communicating and even creating it. Thus Dante raised and drew after him a host of great spirits—Petrarch, Boccacio, Tasso, and many more. From him Milton learnt to bear the stings of evil tongues and the contumely of evil days; and long years after, Byron, thinking of Dante under the pine-trees of Ravenna, was incited to attune his harp to loftier strains than he had ever attempted before. Dante inspired the greatest painters of Italy—Giotto, Orcagna, Michael Angelo, and Raphael. So Ariosto and Titian mutually inspired one another, and lighted up each other's glory.
Great and good men draw others after them, exciting the spontaneous admiration of mankind. This admiration of noble character elevates the mind, and tends to redeem it from the bondage of self, one of the greatest stumbling blocks to moral improvement. The recollection of men who have signalised themselves by great thoughts or great deeds, seems as if to create for the time a purer atmosphere around us: and we feel as if our aims and purposes were unconsciously elevated.
"Tell me whom you admire," said Sainte-Beuve, "and I will tell you what you are, at least as regards your talents, tastes, and character." Do you admire mean men?—your own nature is mean. Do you admire rich men?—you are of the earth, earthy. Do you admire men of title?—you are a toad-eater, or a tuft-hunter. 128 Do you admire honest, brave, and manly men?—you are yourself of an honest, brave, and manly spirit.
It is in the season of youth, while the character is forming, that the impulse to admire is the greatest. As we advance in life, we crystallize into habit; and "NIL ADMIRARI" too often becomes our motto. It is well to encourage the admiration of great characters while the nature is plastic and open to impressions; for if the good are not admired—as young men will have their heroes of some sort—most probably the great bad may be taken by them for models. Hence it always rejoiced Dr. Arnold to hear his pupils expressing admiration of great deeds, or full of enthusiasm for persons or even scenery. "I believe," said he, "that 'NIL ADMIRARI' is the devil's favourite text; and he could not choose a better to introduce his pupils into the more esoteric parts of his doctrine. And, therefore, I have always looked upon a man infected with the disorder of anti-romance as one who has lost the finest part of his nature, and his best protection against everything low and foolish." 129
It was a fine trait in the character of Prince Albert that he was always so ready to express generous admiration of the good deeds of others. "He had the greatest delight," says the ablest delineator of his character, "in anybody else saying a fine saying, or doing a great deed. He would rejoice over it, and talk about it for days; and whether it was a thing nobly said or done by a little child, or by a veteran
