“Temper is a weapon which we handle by the blade.”
This story I had only recently heard, and had good reason for believing. Seeing my host literally trembling and quivering in every limb with the intensity of the excitement, and of the anger into which he had worked himself, my one anxiety was to distract the attention of this representative of the proverbially irritable race of geniuses from the disturbing subject, and to soothe him back to his normal calm. Unfortunately for me, his deafness made my task difficult, but I chanced to hit upon a topic in which he was keenly interested, and, little by little, he quieted down, until I could see that he had talked himself out and was ready for the afternoon nap in which it was his custom to indulge.
Remembering that incident, and others like it within my knowledge, I ask myself how it is possible to judge men and women of genius—men and women to whose great brains the live blood rushes at a thought or at a word; whose passions are like a laid fuse, ready to take fire and to explode the mine at a touch—by the same standard which we apply to the cold-blooded, sluggish-brained, lethargic and perhaps more fortunate mortals to whom impulse is unknown, upon whom passion has no sway, and who rarely commit themselves to any expression or to any action, noble or mean, wise or indiscreet, without first of all carefully weighing the results and counting up the costs.
“It is apparently too often a congenial task,” says George Eliot in her Essay on Heine, “to write severe words about the transgressions of men of genius; especially when the censor has the advantage of being himself a man of no genius, so that those transgressions seem to him quite gratuitous; he, forsooth, never lacerated anyone by his wit or gave irresistible piquancy to a coarse allusion; and his indignation is not mitigated by any knowledge of the temptation that lies in transcendent power.”
II
Of all controversialists (and he dearly loved a verbal encounter) to whom I have ever listened, Swinburne was incomparably the most crushing. He fought with scrupulous and knightly fairness, never stooping to take a mean advantage of an adversary, and listening patiently, punctiliously even, while the other side was making its points. But, when his turn came, he carried everything before him. Vesuvius in eruption could not more effectually overwhelm or consume the rubble around its crater than Swinburne could scarify or sweep away, by a lava-torrent of burning words, the most weighty arguments of his opponents.
So, too, with his conversation. When he was moved by his subject, when he talked in dead earnest, he did nothing else. He forgot everything. In the middle, or even at the beginning of a meal, he would lay down knife and fork, and turn to face his listener, quite oblivious of, or indifferent to the fact that his dinner or lunch was spoiling.
On one occasion I happened, half-way through lunch, to mention that I had in my pocket a copy of Christina Rossetti’s latest poem, written in memory of the Duke of Clarence, and entitled The Death of a First-born.
Down went knife and fork as he half rose from his chair to stretch a hand across the table for the manuscript.
“She is as a god to mortals when compared to most other living women poets,” he exclaimed in a burst of Swinburnian hyperbole.