“The kritikos, the discerner, if he is ever saying to us, This is not gold; and never, This is; is either very humbly useful, or very perverse, or very unfortunate. This is not gold, he says. Thank you, we reply, we perceived as much. And this is not, he adds. True, we answer, but we see gold grains glittering out of its rude, dark mass. Well, at least, this is not, he proceeds. Perverse man! we retort, are you seeking what is not gold? We are inquiring for what is, and unfortunate indeed are we if, born into a world of Nature, and of Spirit once so rich, we are born but to find that it has spent or has lost all its wealth. Unhappy man would he be, who, walking his garden, should scent only the earthy savour of leaves dead or dying, never perceiving, and that afar off, the heavenly odour of roses fresh to-day from the Maker’s hands. The discerning by spiritual aroma may lead to discernment by the eye, and to that careful scrutiny, and thence greater knowledge, of which the eye is instrument and minister.”
And again:—
“The critic criticized, if dealt with in the worst fashion of his own class, must be pronounced a mere monster, ‘seeking whom he may devour;’ and, therefore, to be hunted and slain as speedily as possible, and stuffed for the museum, where he may be regarded with due horror, but in safety. But if dealt with after the best fashion of his class, a very honourable and beneficent office is assigned him, and he is warned only—though zealously—against its perversions. A judicial chair in the kingdom of human thought, filled by a man of true integrity, comprehensiveness, and delicacy of spirit, is a seat of terror and praise, whose powers are at once most fostering to whatever is good, most repressive of whatever is evil.... The critic, in his office of censurer, has need so much to controvert, expose, and punish, because of the abundance of literary faults; and as there is a right and a wrong side in warfare, so there will be in criticism. And as when soldiers are numerous, there will be not a few who are only tolerable, if even that, so of critics. But then the critic is more than the censurer; and in his higher and happier aspect appears before us and serves us, as the discoverer, the vindicator, and the eulogist of excellence.”
But resisting the temptation to quote further from Mr. Lynch’s book on this matter of Criticism, which seemed the natural point of contact by which the Reviewer could lay hold on the book, he would pass on with the remark that his duty in the present instance is of the nobler and better sort—nobler and better, that is, with regard to the object, for duty in the man remains ever the same—namely, the exposition of excellence, and not of its opposite. Mr. Lynch is a man of true insight and large heart, who has already done good in the world, and will do more; although, possibly, he belongs rather to the last class of writers described by himself, in the extract I am about to give from this same essay, than to any of the preceding:—
“Some of the best books are written avowedly, or with evident consciousness of the fact, for the select public that is constituted by minds of the deeper class, or minds the more advanced of their time. Such books may have but a restricted circulation and limited esteem in their own day, and may afterwards extend both their fame and the circle of their readers. Others of the best books, written with a pathos and a power that may be universally felt, appeal at once to the common humanity of the world, and get a response marvellously strong and immediate. An ordinary human eye and heart, whose glances are true, whose pulses healthy, will fit us to say of much that we read—This is good, that is poor. But only the educated eye and the experienced heart will fit us to judge of what relates to matters veiled from ordinary observation, and belonging to the profounder region of human thought and emotion. Powers, however, that the few only possess, may be required to paint what everybody can see, so that everybody shall say, How beautiful! how like! And powers adequate to do this in the finest manner will be often adequate to do much more—may produce, indeed, books or pictures, whose singular merit only the few shall perceive, and the many for awhile deny, and books or pictures which, while they give an immediate and pure pleasure to the common eye, shall give a far fuller and finer pleasure to that eye that is the organ of a deeper and more cultivated soul. There are, too, men of peculiar powers, rare and fine, who can never hope to please the large public, at least of their own age, but whose writings are a heart’s ease and heart’s joy to the select few, and serve such as a cup of heavenly comfort for the earth’s journey, and a lamp of heavenly light for the shadows of the way.”
One other extract from the general remarks on Books in this essay, and we will turn to another:—
“In all our estimation of the various qualities of books, if it be true that our reading assists our life, it is true also that our life assists our reading. If we let our spirit talk to us in undistracted moments—if we commune with friendly, serious Nature, face to face, often—if we pursue honourable aims in a steady progress—if we learn how a man’s best work falls below his thought, yet how still his failure prompts a tenderer love of his thought—if we live in sincere, frank relations with some few friends, joying in their joy, hearing the tale and sharing the pain of their grief, and in frequent interchange of honest, household sensibility—if we look about us on character, marking distinctly what we can see, and feeling the prompting of a hundred questions concerning what is out of our ken:—if we live thus, we shall be good readers and critics of books, and improving ones.”
The second and third of these essays are on Biography and Fiction respectively and principally; treating, however, of collateral subjects as well. Deep is the relation between the life shadowed forth in a biography, and the life in a man’s brain which he shadows forth in a fiction—when that fiction is of the highest order, and written in love, is beheld even by the writer himself with reverence. Delightful, surely, it must be; yes, awful too, to read to-day the embodiment of a man’s noblest thought, to follow the hero of his creation through his temptations, contests, and victories, in a world which likewise is—
“All made out of the carver’s brain;”
and to-morrow to read the biography of this same writer. What of his own ideal has he realized? Where can the life-fountain be detected within him which found issue to the world’s light and air, in this ideal self? Shall God’s fiction, which is man’s reality, fall short of man’s fiction? Shall a man be less than what he can conceive and utter? Surely it will not, cannot end thus. If a man live at all in harmony with the great laws of being—if he will permit the working out of God’s idea in him, he must one day arrive at something greater than what now he can project and behold. Yet, in biography, we do not so often find traces of those struggles depicted in the loftier fiction. One reason may be that the contest is often entirely within, and so a man may have won his spiritual freedom without any outward token directly significant of the victory; except, if he be an artist, such expression as it finds in fiction, whether the fiction be in marble, or in sweet harmonies, or in ink. Nor can we determine the true significance of any living act; for being ourselves within the compass of the life-mystery, we cannot hold it at arm’s length from us and look at its lines of configuration. Nor of a life can we in any measure determine the success by what we behold of it. It is to us at best but a truncated spire, whose want of completion may be the greater because of the breadth of its base, and its slow taper, indicating the lofty height to which it is intended to aspire. The idea of our own life is more than we can embrace. It is not ours, but God’s, and fades away into the infinite. Our comprehension is finite; we ourselves infinite. We can only trust in God and do the truth; then, and then only, is our life safe, and sure both of continuance and development.