An idle life I live in this place, as the world counts it; but then I have the satisfaction of differing from the world as to the meaning of idleness. A windmill twirling its arms all day is admirable only when there is corn to grind. Twirling its arms for the mere barren pleasure of twirling them, or for the sake of looking busy, does not deserve any rapturous paean of praise. I must be made happy after my own fashion, not after the fashion of other people. Here I can live as I please, here I can throw the reins on the neck of my whim. Here I play with my own thoughts; here I ripen for the grave.
ON THE WRITING OF ESSAYS
I have already described my environments and my mode of life, and out of both I contrive to extract a very tolerable amount of satisfaction. Love in a cottage, with a broken window to let in the rain, is not my idea of comfort; no more is Dignity, walking forth richly clad, to whom every head uncovers, every knee grows supple. Bruin in winter-time fondly sucking his own paws, loses flesh; and love, feeding upon itself, dies of inanition. Take the candle of death in your hand, and walk through the stately galleries of the world, and their splendid furniture and array are as the tinsel armour and pasteboard goblets of a penny theatre; fame is but an inscription on a grave, and glory the melancholy blazon on a coffin lid. We argue fiercely about happiness. One insists that she is found in the cottage which the hawthorn shades. Another that she is a lady of fashion, and treads on cloth of gold. Wisdom, listening to both, shakes a white head, and considers that "a good deal may be said on both sides."
There is a wise saying to the effect that "a man can eat no more than he can hold." Every man gets about the same satisfaction out of life. Mr. Suddlechops, the barber of Seven Dials, is as happy as Alexander at the head of his legions. The business of the one is to depopulate kingdoms, the business of the other to reap beards seven days old; but their relative positions do not affect the question. The one works with razors and soap-lather the other with battle-cries and well-greaved Greeks. The one of a Saturday night counts up his shabby gains and grumbles; the other on his Saturday night sits down and weeps for other worlds to conquer. The pence to Mr. Suddlechops are as important as are the worlds to Alexander. Every condition of life has its peculiar advantages, and wisdom points these out and is contented with them. The varlet who sang—
"A king cannot swagger
Or get drunk like a beggar,
Nor be half so happy as I"—
had the soul of a philosopher in him. The harshness of the parlour is revenged at night in the servants' hall. The coarse rich man rates his domestic, but there is a thought in the domestic's brain, docile and respectful as he looks, which makes the matter equal, which would madden the rich man if he knew it—make him wince as with a shrewdest twinge of hereditary gout. For insult and degradation are not without their peculiar solaces. You may spit upon Shylock's gaberdine, but the day comes when he demands his pound of flesh; every blow, every insult, not without a certain satisfaction, he adds to the account running up against you in the day-book and ledger of his hate—which at the proper time he will ask you to discharge. Every way we look we see even-handed nature administering her laws of compensation. Grandeur has a heavy tax to pay. The usurper rolls along like a god, surrounded by his guards. He dazzles the crowd—all very fine; but look beneath his splendid trappings and you see a shirt of mail, and beneath that a heart cowering in terror of an air-drawn dagger. Whom did the memory of Austerlitz most keenly sting? The beaten emperor? or the mighty Napoleon, dying like an untended watch-fire on St. Helena?
Giddy people may think the life I lead here staid and humdrum, but they are mistaken. It is true, I hear no concerts, save those in which the thrushes are performers in the spring mornings. I see no pictures, save those painted on the wide sky-canvas with the colours of sunrise and sunset. I attend neither rout nor ball; I have no deeper dissipation than the tea-table; I hear no more exciting scandal than quiet village gossip. Yet I enjoy my concerts more than I would the great London ones. I like the pictures I see, and think them better painted, too, than those which adorn the walls of the Royal Academy; and the village gossip is more after my turn of mind than the scandals that convulse the clubs. It is wonderful how the whole world reflects itself in the simple village life. The people around me are full of their own affairs and interests; were they of imperial magnitude, they could not be excited more strongly. Farmer Worthy is anxious about the next market; the likelihood of a fall in the price of butter and eggs hardly allows him to sleep o' nights. The village doctor—happily we have only one—skirrs hither and thither in his gig, as if man could neither die nor be born without his assistance. He is continually standing on the confines of existence, welcoming the new-comer, bidding farewell to the goer-away. And the robustious fellow who sits at the head of the table when the Jolly Swillers meet at the Blue Lion on Wednesday evenings is a great politician, sound of lung metal, and wields the village in the taproom, as my Lord Palmerston wields the nation in the House. His listeners think him a wiser personage than the Premier, and he is inclined to lean to that opinion himself. I find everything here that other men find in the big world. London is but a magnified Dreamthorp.
And just as the Rev. Mr. White took note of the ongoings of the seasons in and around Hampshire Selborne, watched the colonies of the rooks in the tall elms, looked after the swallows in the cottage and rectory eaves, played the affectionate spy on the private lives of chaffinch and hedge-sparrow, was eaves-dropper to the solitary cuckoo; so here I keep eye and ear open; take note of man, woman, and child; find many a pregnant text imbedded in the commonplace of village life; and, out of what I see and hear, weave in my own room my essays as solitary as the spider weaves his web in the darkened corner. The essay, as a literary form, resembles the lyric, in so far as it is moulded by some central mood—whimsical, serious, or satirical. Give the mood, and the essay, from the first sentence to the last, grows around it as the cocoon grows around the silkworm. The essay-writer is a chartered libertine, and a law unto himself. A quick ear and eye, an ability to discern the infinite suggestiveness of common things, a brooding meditative spirit, are all that the essayist requires to start business with. Jacques, in "As You Like It," had the makings of a charming essayist. It is not the essayist's duty to inform, to build pathways through metaphysical morasses, to cancel abuses, any more than it is the duty of the poet to do these things. Incidentally he may do something in that way, just as the poet may, but it is not his duty, and should not be expected of him. Skylarks are primarily created to sing, although a whole choir of them may be baked in pies and brought to table; they were born to make music, although they may incidentally stay the pangs of vulgar hunger. The essayist is a kind of poet in prose, and if questioned harshly as to his uses, he might be unable to render a better apology for his existence than a flower might. The essay should be pure literature as the poem is pure literature. The essayist wears a lance, but he cares more for the sharpness of its point than for the pennon that flutters on it, than for the banner of the captain under whom he serves. He plays with death as Hamlet plays with Yorick's skull, and he reads the morals—strangely stern, often, for such fragrant lodging—which are folded up in the bosoms of roses. He has no pride, and is deficient in a sense of the congruity and fitness of things. He lifts a pebble from the ground, and puts it aside more carefully than any gem; and on a nail in a cottage-door he will hang the mantle of his thought, heavily brocaded with the gold of rhetoric. He finds his way into the Elysian fields through portals the most shabby and commonplace.
The essayist plays with his subject, now whimsical, now in grave, now in melancholy mood. He lies upon the idle grassy bank, like Jacques, letting the world flow past him, and from this thing and the other he extracts his mirth and his moralities. His main gift is an eye to discover the suggestiveness of common things; to find a sermon in the most unpromising texts. Beyond the vital hint, the first step, his discourses are not beholden to their titles. Let him take up the most trivial subject, and it will lead him away to the great questions over which the serious imagination loves to brood,—fortune, mutability, death,—just as inevitably as the runnel, trickling among the summer hills, on which sheep are bleating, leads you to the sea; or as, turning down the first street you come to in the city, you are led finally, albeit by many an intricacy, out into the open country, with its waste places and its woods, where you are lost in a sense of strangeness and solitariness. The world is to the meditative man what the mulberry plant is to the silkworm. The essay-writer has no lack of subject-matter. He has the day that is passing over his head; and, if unsatisfied with that, he has the world's six thousand years to depasture his gay or serious humour upon. I idle away my time here, and I am finding new subjects every hour. Everything I see or hear is an essay in bud. The world is everywhere whispering essays, and one need only be the world's amanuensis. The proverbial expression which last evening the clown dropped as he trudged homeward to supper, the light of the setting sun on his face, expands before me to a dozen pages. The coffin of the pauper, which to-day I saw carried carelessly along, is as good a subject as the funeral procession of an emperor. Craped drum and banner add nothing to death; penury and disrespect take nothing away. Incontinently my thought moves like a slow-paced hearse with sable nodding plumes. Two rustic lovers, whispering between the darkening hedges, is as potent to project my mind into the tender passion as if I had seen Romeo touch the cheek of Juliet in the moon-light garden. Seeing a curly-headed child asleep in the sunshine before a cottage door is sufficient excuse for a discourse on childhood; quite as good as if I had seen infant Cain asleep in the lap of Eve with Adam looking on. A lark cannot rise to heaven without raising as many thoughts as there are notes in its song. Dawn cannot pour its white light on my village without starting from their dim lair a hundred reminiscences; nor can sunset burn above yonder trees in the west without attracting to itself the melancholy of a lifetime. When spring unfolds her green leaves I would be provoked to indite an essay on hope and youth, were it not that it is already writ in the carols of the birds; and I might be tempted in autumn to improve the occasion, were it not for the rustle of the withered leaves as I walk through the woods. Compared with that simple music, the saddest-cadenced words have but a shallow meaning.
The essayist who feeds his thoughts upon the segment of the world which surrounds him cannot avoid being an egotist; but then his egotism is not unpleasing. If he be without taint of boastfulness, of self-sufficiency, of hungry vanity, the world will not press the charge home. If a man discourses continually of his wines, his plate, his titled acquaintances, the number and quality of his horses, his men-servants and maid-servants, he must discourse very skilfully indeed if he escapes being called a coxcomb. If a man speaks of death—tells you that the idea of it continually haunts him, that he has the most insatiable curiosity as to death and dying, that his thought mines in churchyards like a "demon-mole"—no one is specially offended, and that this is a dull fellow is the hardest thing likely to be said of him. Only, the egotism that overcrows you is offensive, that exalts trifles and takes pleasure in them, that suggests superiority in matters of equipage and furniture; and the egotism is offensive, because it runs counter to and jostles your self-complacency. The egotism which rises no higher than the grave is of a solitary and a hermit kind—it crosses no man's path, it disturbs no man's amour propre. You may offend a man if you say you are as rich as he, as wise as he, as handsome as he. You offend no man if you tell him that, like him, you have to die. The king, in his crown and coronation robes, will allow the beggar to claim that relationship with him. To have to die is a distinction of which no man is proud. The speaking about one's self is not necessarily offensive. A modest, truthful man speaks better about himself than about anything else, and on that subject his speech is likely to be most profitable to his hearers. Certainly, there is no subject with which he is better acquainted, and on which he has a better title to be heard. And it is this egotism, this perpetual reference to self, in which the charm of the essayist resides. If a man is worth knowing at all, he is worth knowing well. The essayist gives you his thoughts, and lets you know, in addition, how he came by them. He has nothing to conceal; he throws open his doors and windows, and lets him enter who will. You like to walk round peculiar or important men as you like to walk round a building, to view it from different points, and in different lights. Of the essayist, when his mood is communicative, you obtain a full picture. You are made his contemporary and familiar friend. You enter into his humours and his seriousness. You are made heir of his whims, prejudices, and playfulness. You walk through the whole nature of him, as you walk through the streets of Pompeii, looking into the interior of stately mansions, reading the satirical scribblings on the walls. And the essayist's habit of not only giving you his thoughts, but telling you how he came by them, is interesting, because it shows you by what alchemy the ruder world becomes transmuted into the finer. We like to know the lineage of ideas, just as we like to know the lineage of great earls and swift race-horses. We like to know that the discovery of the law of gravitation was born of the fall of an apple in an English garden on a summer afternoon. Essays written after this fashion are racy of the soil in which they grow, as you taste the larva in the vines grown on the slopes of Etna, they say. There is a healthy Gascon flavour in Montaigne's Essays; and Charles Lamb's are scented with the primroses of Covent Garden.