ANATOMY OF SOCIETY.
By J.A. St. John, Esq.
The title of this work leads the reader to expect a regular and connected series of illustrations of the constitution or frame-work of society, in which its scheme might be traced through the various ramifications. On the contrary, we have two volumes of essays of no consecutive interest, but well written, and in some cases abounding with turns of scholarly elegance. They seldom flag, or grow vapid, notwithstanding they are on subjects of common life and experience, upon which moralists have rung the changes of words for centuries past. Occasionally, however, there are some new positions and little conceits which have more of prettiness than truth to recommend them. To call Cowper’s line
God made the country, but man made the town!
“a piece of impious jargon” is no proof of Mr. St. John’s acumen or fair comprehension of the poet’s meaning, but accords with his unproved assertion “The mark of man’s hand is as visible in the country as in the town to all those who make use of their eyes.” Yet this sentiment is a fair specimen of the stern stuff of which Mr. St. John’s creeds and opinions are made up.[8] Nevertheless, the volumes are entertaining, and in proof we have carved out a few laconic extracts:
Love of Pleasure.—The cause why men visit each other and converse, abstracting all considerations of business, seems to be simply the love of pleasure. This is the passion truly universal; this is the pivot upon which the world intellectual, as well as the world of sense, turns. Philosophers and saints feel it in their speculations and devotions, and yield to it too, in their way, as completely as the Sybaritish gourmand, whose stomach is his Baal and Ashtaroth. Nor is this at all surprising, in reality, for the gratification of this passion is happiness—a gem for which all the world search, and but few find.
Conversation.—The persons who shine most in conversation are, perhaps, those who attack established opinions and usages; for there is a kind of splendid Quixotism in standing up, even in the advocating of absurdity, against the whole world.
Love.—Do we imagine, when we open some new treatise on Love, that the author has discovered a fresh vein, and mined more deeply than all former adventurers? Not at all: we know very well that the little god has already usurped all beautiful epithets, all soft expressions, all bewitching sounds; and the utmost we expect from the skill of the writer is, that he has thrown all these together, so as to produce a new picture. Love is immortal, and does not grow wrinkled because we and our expressions fade. His heart is still as joyous and his foot as light as when he trod the green knolls of Paradise with Eve. He will be young when he sits upon the grave of the thousandth generation of our posterity, listening to the beating of his own heart, or sporting with his butterfly consort, as childishly as if he were no older than the daisy under his foot. His empire is a theme of which the tongue never grows weary, or utters all that seems to come quivering and gasping to the lips for utterance. We think, more than we ever spoke, of love; and if we have a curiosity when we first touch some erotic volume, it is to see whether the author has embodied our unutterable feelings, or divulged what we have never dared.
Wit in Season.—The jest of an ex-minister is as flavourless as a mummy; as unintelligible as its hieroglyphical epitaph. Three days after his fall, his wit, under the sponge of oblivion, has grown as much a mystery as the name of him who built the pyramid, or the taste of Lot’s wife.
Read my book.—When Hobbes was at any time at a loss for arguments to defend his unsocial principles, vivâ voce, he always used to say—“I have published my opinions; consult my works; and, if I am wrong, confute me publicly.” To most persons this mode of confutation was by far too operose; but they might have confoundedly puzzled the philosopher in verbal disputation.
In “Vino Veritas.”—Horace with commendation of kings—
—who never chose a friend
Till with full bowls they had unmasked his soul,
And seen the bottom of his deepest thoughts.
But much dependence cannot be placed upon what is wrung out of a man under the influence of wine, which does not so much unveil as it disarranges our ideas; and, therefore, whoever contemplates the character from the combination of ideas produced by intoxication, views man in a false light. Violent anger has nearly the same effect as wine.
Cupid—was painted blind by the ancients, to signify that the affections prevent the sight, not so much from perceiving outward as inward defects.
Character.—Whoever would study the characters of those with whom he lives or converses, must keep up the appearance of a kind of recklessness and frivolity, for the mind closes itself up like the hedgehog, at the least sensible touch of observation, and will not be afterwards drawn out. Men have been known in the middle of a discovery of their character, to be stopped short by a look, which brought them to themselves, and traced before them in an instant the danger of their position and the methods of escape. A keen observer, indeed, may always adjust the temperature of his discourse by the faces of his auditors, which are saddened or brightened, like the face of the sea in April, as more or less of the sunshine of rhetoric breaks forth upon them.
Greatness.—What renders it difficult for ordinary minds to discover a great man before he has, like a tree, put forth his blossoms, is the manner, various and dissimilar, in which such persons evolve their powers. For as in nature the finest days are sometimes in the morning overclouded and dark, so the developement of genius follows no rule, but is hastened or retarded by position and circumstance. But to a keen eye there always appear, even in the first obscurity of extraordinary men, certain internal commotions and throes, denoting some magna vis animi at work within.
Physiognomy.—When Atticus advised Cicero to keep strict watch over his face, in his first interview with Cæsar after the civil wars, he could not mean that he might thereby conceal his character from Cæsar, who knew well enough what that was; but he meant, that by such precaution he might conceal from the tyrant his actual hatred and disgust for his person. Yet for the character and secret nature of a man, fronti nulli fides.
Writing.—It was Addison, we believe, who observed of the schoolmen, that they had not genius enough to write a small book, and therefore took refuge in folios of the largest magnitude. We are getting as fast as possible into the predicament of the schoolmen. No one knows when he has written enough; but, like a player at chess, still goes on with the self-same ideas, merely altering their position. This must arise from early habits and prejudices, from having been taught to regard with veneration vast collections of common-places, under the titles of this or that man’s works. Tacitus may be carried about in one’s pocket, while it will very shortly require a wagon to remove Sir Walter Scott’s labours from place to place. Voltaire’s facility was his greatest fault; better he had elaborated his periods, like Rousseau; who, notwithstanding, wrote too much. The latter, however, of all modern writers, best knew the value of his own mind. His prime of life was passed in vicissitude and study. He did not set himself about writing books for mankind, until he knew what they possessed and what they wanted. It was his opinion that a writer who would do any good should stand upon the pinnacle of his age, and from thence look into the future.