I seem, from my earliest conscious years, to have lived in a world of books; and yet my home was by no means "bookish." I was trained by people who had not read much, but had read thoroughly; who regarded good literature with unfeigned admiration; and who, though they would never have dreamt of forcing or cramming, yet were pleased when they saw a boy inclined to read, and did their best to guide his reading aright. As I survey my early life and compare it with the present day, one of the social changes which impresses me most is the general decay of intellectual cultivation. This may sound paradoxical in an age which habitually talks so much about Education and Culture; but I am persuaded that it is true. Dilettantism is universal, and a smattering of erudition, infinitely more offensive than honest and manly ignorance, has usurped the place which was formerly occupied by genuine and liberal learning. A vast deal of specialism, "mugged up," as boys say, at the British Museum or the London Library, may coexist with a profound ignorance of all that is really worth knowing. It sounds very intellectual to chatter about the authorship of the Fourth Gospel, or to scoff at St. John's "senile iterations and contorted metaphysics"; but, when a clergyman read St. Paul's eulogy on Charity, instead of an address, at the end of a fashionable wedding, one of his hearers said, "How very appropriate that was! Where did you get it from?" Everyone can patter nonsense about the traces of Bacon's influence in The Merry Wives of Windsor, and can ransack their family histories for the original of "Mr. W. H." But, when Cymbeline was put on the stage, Society was startled to find that the principal part was not a woman's. When some excellent scenes from Jane Austen were given in a Belgravian drawing-room, a lady of the highest notoriety, enthusiastically praising the performance, enquired who was the author of the dialogue between Mr. and Mrs. John Dashwood, and whether he had written anything else. I have known a Lord Chief Justice who had never seen the view from Richmond Hill; a publicist who had never heard of Lord Althorp; and an authoress who did not know the name of Izaak Walton.
Perhaps these curious "ignorances," as the Prayer Book calls them, impressed me the more forcibly because I was born a Whig, and brought up in a Whiggish society; for the Whigs were rather specially the allies of learning; and made it a point of honour to know, though never to parade, the best that has been thought and written. Very likely they had no monopoly of culture: the Tories may have been just as well-informed. But a man "belongs to his belongings"; one can only describe what one has seen; and here the contrast between Past and Present is palpable enough. I am not thinking of professed scholars and students, such as Lord Stanhope the Historian, and Sir Edward Bunbury the Senior Classic; or of professed blue-stockings, such as Barbarina, Lady Dacre, and Georgiana, Lady Chatterton; but of ordinary men and women of good family and good position, who had received the usual education of their class, and had profited by it.
Mr. Gladstone used to say that, in his schooldays at Eton, a boy might learn much, or learn nothing; but he could not learn superficially. A similar remark would have applied to the attainments of people who were old when I was young. They might know much, or they might know nothing; but they did not know superficially. What they professed to know, that you could be sure they knew. The affectation of culture was despised; and ignorance, where it existed, was avowed. For example, everyone knew Italian, but no one pretended to know German. I remember men who had never been at a University, but had passed straight from a Public School to a Cavalry Regiment or the House of Commons, and who yet could quote Horace as easily as the present generation quotes Kipling. These people inherited the traditions of Mrs. Montagu, who "vindicated the genius of Shakespeare against the calumnies of Voltaire," and they knew the greatest poet of all time with an absolute ease and familiarity. They did not trouble themselves about various readings, and corrupt texts, and difficult passages. They had nothing in common with that true father of all Shakespearean criticism, Mr. Curdle, in Nicholas Nickleby, who had written a treatise on the question whether Juliet's nurse's husband was really "a merry man," or whether it was only his widow's affectionate partiality that induced her so to report him. But they knew the whole mass of the Plays with a natural and unforced intimacy; their speech was saturated with the immortal diction, and Hamlet's speculations were their nearest approach to metaphysics. Pope was quoted whenever the occasion suggested him, and Johnson was esteemed the Prince of Critics. Broadly speaking, all educated people knew the English poets down to the end of the eighteenth century. Byron and Moore were enjoyed with a sort of furtive and fearful pleasure; Wordsworth was tolerated, and Tennyson was "coming in." Everyone knew Scott's novels by heart, and had his or her favourite heroine and hero.
I said in a former chapter that I had from my earliest days free access to an excellent library; and, even before I could read comfortably by myself, my interest in books was stimulated by listening to my elders as they read aloud. The magic of words and cadence—the purely sensuous pleasure of melodious sound—stirred me from the time when I was quite a child. Poetry, of course, came first; but prose was not much later. I had by nature a good memory, and it retained, by no effort on my part, my favourite bits of Macaulay and Scott. The Battle of Lake Regillus and The Lay of the Last Minstrel, the impeachment of Warren Hastings and the death of Reginald Front-de-Boeuf, are samples of the literature with which my mind was stored. Every boy, I suppose, attempts to imitate what he admires, and I was eternally scribbling. When I was eleven, I began a novel, of which the heroine was a modern Die Vernon. At twelve, I took to versification, for which the swinging couplets of English Bards and Scotch Reviewers supplied the model. Fragments of prose and verse came thick and fast. When I was thirteen, I made my first appearance in print; with a set of verses on a Volunteer Encampment, which really were not at all bad; and at fourteen I published (anonymously) a religious tract, which had some success in Evangelical circles.
The effect of Harrow was both to stimulate and to discipline my taste for literature. It was my good fortune to be taught my Sophocles and Euripides, Tacitus and Virgil, by scholars who had the literary sense, and could enrich school-lessons with all the resources of a generous culture. My sixteenth and seventeenth years brought me a real and conscious growth in the things of the mind, and with that period of my life I must always gratefully associate the names of Frederic Farrar, Edward Bowen, and Arthur Watson.[49]
Meanwhile I was not only learning, but also practising. My teachers with one accord incited me to write. Essay-writing formed a regular part of our work in school and pupil-room, and I composed a great deal for my own amusement. I wrote both prose and verse, and verse in a great many metres; but it was soon borne in upon me—conclusively after I had been beaten for the Prize Poem[50]—that the Muse of Poetry was not mine. In prose, I was more successful. My work for The Harrovian gave me constant practice, and I twice won the School-Prize for an English Essay. In writing, I indulged to the full my taste for resonant and rolling sound; and my style was ludicrously rhetorical. The subject for the Prize Essay in 1872 was "Parliamentary Oratory: its History and Influence," and the discourse which I composed on that attractive theme has served me from that day to this as the basis of a popular lecture. The "Young Lion" of the Daily Telegraph thus "roared" over my performance—
"The English Essay now takes a higher place on Speech Day than it did in the old season; and the essay which was crowned yesterday was notable alike for the theme, the opinions, and the literary promise of the writer. The young author bore the historical name of Russell, and he was really reviewing the forerunners and the fellow-workers of his own ancestors, in describing the rhetorical powers of the elder and the younger Pitt, Fox, Burke, Sheridan, Canning and Grey.... The well-known Constitutional note of Lord Russell was heard in every page, and the sonorous English was such as the Earl himself might have written fifty years ago, if the undergraduates of that day had been able to copy a Macaulay. The essayist has read the prose of that dangerous model until he has imitated the well-known and now hackneyed devices of the great rhetorician with a closeness which perilously brought to mind the show passages of the 'Essays' and the 'History.' Mr. Russell has caught the trick of cutting up his paragraphs into rolling periods, and short, sharp, and disjointed sentences; but he will go to more subtle and more simple masters of style than Macaulay, when he shall have passed the rhetorical stage of youth."
This prophecy was soon fulfilled, and indeed the process of fulfilment had already begun. In the Sixth Form, we naturally were influenced by Dr. Butler, who, though he certainly did not despise fine rhetoric, wrote a beautifully simple style, and constantly instructed us in the difference between eloquence and journalese. "Let us leave commence and partake to the newspapers," was an admonition often on his lips. Our Composition Masters were Edward Young, an exquisite scholar of the Eton type, and the accomplished Henry Nettleship, who detested flamboyancy, and taught us to admire Newman's incomparable easiness and grace. And there was Matthew Arnold living on the Hill, generously encouraging every bud of literary promise, and always warning us against our tendency to "Middle-class Macaulayese."
At Oxford, the chastening process went on apace. Newman became my master, as far as language was concerned; and I learned to bracket him with Arnold and Church as possessing "The Oriel style." Thackeray's Latinized constructions began to fascinate me; and, though I still loved gorgeous diction, I sought it from Ruskin instead of Macaulay.