Curiosities of Literature, Vol. 3

by Isaac Disraeli

There is, however, a feeling among literary men of building up their own elegant fancies, and giving a permanency to their own tastes; we dwell on their favourite scenes as a sort of portraits, and we eagerly collect those few prints, which are their only vestiges. A collection might be formed of such literary residences chosen for their amenity and their retirement, and adorned by the objects of their studies; from that of the younger Pliny, who called his villa of literary leisure by the endearing term of villula, to that of Cassiodorus, the prime minister of Theodoric, who has left so magnificent a description of his literary retreat, where all the elegancies of life were at hand; where the gardeners and the agriculturists laboured on scientific principles; and where, amidst gardens and parks, stood his extensive library, with scribes to multiply his manuscripts:—from Tycho Brahe’s, who built a magnificent astronomical house on an island, which he named after the sole objects of his musings Uranienburgh, or the Castle of the Heavens;—to that of Evelyn, who first began to adorn Wotton, by building “a little study,” till many years after he dedicated the ancient house to contemplation, among the “delicious streams and venerable woods, the gardens, the fountains, and the groves, most tempting for a great person and a wanton purse; and indeed gave one of the first examples to that elegancy since so much in vogue.”—From Pope, whose little garden seemed to multiply its scenes by a glorious union of nobility and literary men conversing in groups;—down to lonely Shenstone, whose “rural elegance,” as he entitles one of his odes, compelled him to mourn over his hard fate, when

————Expense Had lavish’d thousand ornaments, and taught Convenience to perplex him, Art to pall, Pomp to deject, and Beauty to displease.

We have all by heart the true and delightful reflection of Johnson on local associations, when the scene we tread suggests to us the men or the deeds, which have left their celebrity to the spot. We are in the presence of their fame, and feel its influence!

A literary friend, whom a hint of mine had induced to visit the old tower in the garden of Buffon, where the sage retired every morning to compose, passed so long a time in that lonely apartment as to have raised some solicitude among the honest folks of Montbard, who having seen the “Englishman” enter, but not return, during a heavy thunder-storm which had occurred in the interval, informed the good mayor, who came in due form, to notify the ambiguous state of the stranger. My friend is, as is well known, a genius of that cast who could pass two hours in the Tower of Buffon, without being aware that he had been all that time occupied by suggestions of ideas and reveries, which in some minds such a locality may excite. He was also busied with his pencil; for he has favoured me with two drawings of the interior and the exterior of this old tower in the garden: the nakedness within can only be compared to the solitude without. Such was the studying-room of Buffon, where his eye, resting on no object, never interrupted the unity of his meditations on nature.

In return for my friend’s kindness, it has cost me, I think, two hours in attempting to translate the beautiful picture of this literary retreat, which Vicq d’Azyr has finished with all the warmth of a votary. “At Montbard, in the midst of an ornamented garden, is seen an antique tower; it was there that Buffon wrote the History of Nature, and from that spot his fame spread through the universe. There he came at sunrise, and no one, however importunate, was suffered to trouble him. The calm of the morning hour, the first warbling of the birds, the varied aspect of the country, all at that moment which touched the senses, recalled him to his model. Free, independent, he wandered in his walks; there was he seen with quickened or with slow steps, or standing wrapped in thought, sometimes with his eyes fixed on the heavens in the moment of inspiration, as if satisfied with the thought that so profoundly occupied his soul; sometimes, collected within himself, he sought what would not always be found; or at the moments of producing, he wrote, he effaced, and rewrote, to efface once more; thus he harmonised, in silence, all the parts of his composition, which he frequently repeated to himself, till, satisfied with his corrections, he seemed to repay himself for the pains of his beautiful prose, by the pleasure he found in declaiming it aloud. Thus he engraved it in his memory, and would recite it to his friends, or induce some to read it to him. At those moments he was himself a severe judge, and would again re-compose it, desirous of attaining to that perfection which is denied to the impatient writer.”

A curious circumstance, connected with local associations, occurred to that extraordinary oriental student, Fourmont. Originally he belonged to a religious community, and never failed in performing his offices: but he was expelled by the superior for an irregularity of conduct not likely to have become contagious through the brotherhood—he frequently prolonged his studies far into the night, and it was possible that the house might be burnt by such superfluity of learning. Fourmont retreated to the college of Montaign, where he occupied the very chambers which had formerly been those of Erasmus; a circumstance which contributed to excite his emulation, and to hasten his studies. He who smiles at the force of such emotions, only proves that he has not experienced what are real and substantial as the scene itself—for those who are concerned in them. Pope, who had far more enthusiasm in his poetical disposition than is generally understood, was extremely susceptible of the literary associations with localities: one of the volumes of his Homer was begun and finished in an old tower over the chapel of Stanton Harcourt;[256] and he has perpetuated the event, if not consecrated the place, by scratching with a diamond on a pane of stained glass this inscription:—

In the year 1718, Alexander Pope Finished here the f.... fifth volume of Homer.[257]

It was the same feeling which induced him one day, when taking his usual walk with Harte in the Haymarket, to desire Harte to enter a little shop, where going up three pair of stairs into a small room, Pope said, “In this garret Addison wrote his Campaign!” Nothing less than a strong feeling impelled the poet to ascend this garret—it was a consecrated spot to his eye; and certainly a curious instance of the power of genius contrasted with its miserable locality! Addison, whose mind had fought through “a campaign!” in a garret, could he have called about him “the pleasures of imagination,” had probably planned a house of literary repose, where all parts would have been in harmony with his mind.

Such residences of men of genius have been enjoyed by some; and the vivid descriptions which they have left us convey something of the delightfulness which charmed their studious repose.