is perfect—there is nothing for the new lights to correct.
Letter to Miss Sara Hennell, 27th Nov. 1847.
How do you like "Lelia," of which you have never spoken one word? I am provoked with you for being in the least pleased with "Tancred;" but if you have found out any lofty meaning in it, or any true picturing of life, tell it me, and I will recant. I have found two new readers of Strauss. One, a lady at Leamington, who is also reading the "Inquiry," but likes Strauss better! The other is a gentleman here in Coventry; he says "it is most clever and ingenious, and that no one whose faith rests only on the common foundation can withstand it." I think he may safely say that his faith rests on an uncommon foundation. The book will certainly give him a lift in the right direction, from its critical, logical character—just the opposite of his own. I was interested the other day in talking to a young lady who lives in a nest of clergymen, her brothers, but not of the evangelical school. She had been reading Blanco White's life, and seems to have had her spirit stirred within her, as every one's must be who reads the book with any power of appreciation. She is unable to account to herself for the results at which Blanco White arrived with his earnestness and love of truth; and she asked me if I had come to the same conclusions.
I think "Live and teach" should be a proverb as well as "Live and learn." We must teach either for good or evil; and if we use our inward light as the Quaker tells us, always taking care to feed and trim it well, our teaching must, in the end, be for good. We are growing old together—are we not? I am growing happier too. I am amusing myself with thinking of the prophecy of Daniel as a sort of allegory. All those monstrous, "rombustical" beasts with their horns—the horn with eyes and a mouth speaking proud things, and the little horn that waxed rebellious and stamped on the stars, seem like my passions and vain fancies, which are to be knocked down one after the other, until all is subdued into a universal kingdom over which the Ancient of Days presides—the spirit of love—the Catholicism of the Universe—if you can attach any meaning to such a phrase. It has a meaning for my sage noddle.
Letter to Miss Sara Hennell, Jan. 1848.
I am reading George Sand's "Lettres d'un Voyageur" with great delight, and hoping that they will some time do you as much good as they do me. In the meantime, I think the short letter about "Lelia" will interest you. It has a very deep meaning to my apprehension. You can send back the pages when you have duly digested them. I once said of you that yours was a sort of alkali nature which would detect the slightest acid of falsehood. You began to phiz-z-z directly it approached you. I want you as a test. I now begin to see the necessity of the arrangement (a bad word) that love should determine people's fate while they are young. It is so impossible to admire—"s'enthousiasmer" of—an individual as one gets older.
Here follows the interesting correspondence, referred to before, with Mr. John Sibree:
Letter to J. Sibree, beginning of 1848.
Begin your letter by abusing me, according to my example. There is nothing like a little gunpowder for a damp chimney; and an explosion of that sort will set the fire of your ideas burning to admiration. I hate bashfulness and modesties, as Sir Hugh Evans would say; and I warn you that I shall make no apologies, though, from my habit of writing only to people who, rather than have nothing from me, will tolerate nothings, I shall be very apt to forget that you are not one of those amiably silly individuals. I must write to you more meo, without taking pains or laboring to be spirituelle when Heaven never meant me to be so; and it is your own fault if you bear with my letters a moment after they become an infliction. I am glad you detest Mrs. Hannah More's letters. I like neither her letters, nor her books, nor her character. She was that most disagreeable of all monsters, a blue-stocking—a monster that can only exist in a miserably false state of society, in which a woman with but a smattering of learning or philosophy is classed along with singing mice and card-playing pigs. It is some time since I read "Tancred," so that I have no very vivid recollection of its details; but I thought it very "thin," and inferior in the working up to "Coningsby" and "Sybil." Young Englandism is almost as remote from my sympathies as Jacobitism, as far as its force is concerned, though I love and respect it as an effort on behalf of the people. D'Israeli is unquestionably an able man, and I always enjoy his tirades against liberal principles as opposed to popular principles—the name by which he distinguishes his own. As to his theory of races, it has not a leg to stand on, and can only be buoyed up by such windy eloquence as—You chubby-faced, squabby-nosed Europeans owe your commerce, your arts, your religion, to the Hebrews—nay, the Hebrews lead your armies: in proof of which he can tell us that Massena, a second-rate general of Napoleon's, was a Jew, whose real name was Manasseh. Extermination up to a certain point seems to be the law for the inferior races—for the rest fusion, both for physical and moral ends. It appears to me that the law by which privileged classes degenerate, from continual intermarriage, must act on a larger scale in deteriorating whole races. The nations have been always kept apart until they have sufficiently developed their idiosyncrasies, and then some great revolutionary force has been called into action, by which the genius of a particular nation becomes a portion of the common mind of humanity. Looking at the matter æsthetically, our idea of beauty is never formed on the characteristics of a single race. I confess the types of the pure races, however handsome, always impress me disagreeably; there is an undefined feeling that I am looking not at man, but at a specimen of an order under Cuvier's class Bimana. The negroes certainly puzzle me. All the other races seem plainly destined to extermination, not excepting even the Hebrew Caucasian. But the negroes are too important, physiologically and geographically, for one to think of their extermination; while the repulsion between them and the other races seems too strong for fusion to take place to any great extent. On one point I heartily agree with D'Israeli as to the superiority of the Oriental races—their clothes are beautiful and their manners are agreeable. Did you not think the picture of the Barroni family interesting? I should like to know who are the originals. The fellowship of race, to which D'Israeli so exultingly refers the munificence of Sidonia, is so evidently an inferior impulse, which must ultimately be superseded, that I wonder even he, Jew as he is, dares to boast of it. My Gentile nature kicks most resolutely against any assumption of superiority in the Jews, and is almost ready to echo Voltaire's vituperation. I bow to the supremacy of Hebrew poetry, but much of their early mythology, and almost all their history, is utterly revolting. Their stock has produced a Moses and a Jesus; but Moses was impregnated with Egyptian philosophy, and Jesus is venerated and adored by us only for that wherein he transcended or resisted Judaism. The very exaltation of their idea of a national deity into a spiritual monotheism seems to have been borrowed from the other Oriental tribes. Everything specifically Jewish is of a low grade.
And do you really think that sculpture and painting are to die out of the world? If that be so, let another deluge come as quickly as possible, that a new race of Glums and Gowries may take possession of this melancholy earth. I agree with you as to the inherent superiority of music—as that questionable woman, the Countess Hahn-Hahn, says painting and sculpture are but an idealizing of our actual existence. Music arches over this existence with another and a diviner. Amen, too, to that ideenvoll observation of Hegel's. "We hardly know what it is to feel for human misery until we have heard a shriek; and a more perfect hell might be made out of sound than out of any preparation of fire and brimstone." When the tones of our voice have betrayed peevishness or harshness, we seem to be doubly haunted by the ghost of our sin; we are doubly conscious that we have been untrue to our part in the great Handel chorus. But I cannot assent to the notion that music is to supersede the other arts, or that the highest minds must necessarily aspire to a sort of Milton blindness, in which the tiefste der Sinne is to be a substitute for all the rest. I cannot recognize the truth of all that is said about the necessity of religious fervor to high art. I am sceptical as to the real existence of such fervor in any of the greatest artists. Artistic power seems to me to resemble dramatic power—to be an intimate perception of the varied states of which the human mind is susceptible, with ability to give them out anew in intensified expression. It is true that the older the world gets originality becomes less possible. Great subjects are used up, and civilization tends evermore to repress individual
