2.
A Literature, when it is formed, is a national and historical fact; it is a matter of the past and the present, and can be as little ignored as the present, as little undone as the past. We can deny, supersede, or change it, then only, when we can do the same towards the race or language which it represents. Every great people has a character of its own, which it manifests and perpetuates in a variety of ways. It developes into a monarchy or republic;—by means of commerce or in war, in agriculture or in manufactures, or in all of these at once; in its cities, its public edifices and works, bridges, canals, and harbours; in its laws, traditions, customs, and manners; in its songs [pg 309] and its proverbs; in its religion; in its line of policy, its bearing, its action towards foreign nations; in its alliances, fortunes, and the whole course of its history. All these are peculiar, and parts of a whole, and betoken the national character, and savour of each other; and the case is the same with the national language and literature. They are what they are, and cannot be any thing else, whether they be good or bad or of a mixed nature; before they are formed, we cannot prescribe them, and afterwards, we cannot reverse them. We may feel great repugnance to Milton or Gibbon as men; we may most seriously protest against the spirit which ever lives, and the tendency which ever operates, in every page of their writings; but there they are, an integral portion of English Literature; we cannot extinguish them; we cannot deny their power; we cannot write a new Milton or a new Gibbon; we cannot expurgate what needs to be exorcised. They are great English authors, each breathing hatred to the Catholic Church in his own way, each a proud and rebellious creature of God, each gifted with incomparable gifts.
We must take things as they are, if we take them at all. We may refuse to say a word to English literature, if we will; we may have recourse to French or to Italian instead, if we think either of these less exceptionable than our own; we may fall back upon the Classics of Greece and Rome; we may have nothing whatever to do with literature, as such, of any kind, and confine ourselves to purely amorphous or monstrous specimens of language; but if we do once profess in our Universities the English language and literature, if we think it allowable to know the state of things we live in, and that national character which we share, if we think it desirable to have a chance of writing what may be read after our day, and praiseworthy to aim [pg 310] at providing for Catholics who speak English a Catholic Literature then—I do not say that we must at once throw open every sort of book to the young, the weak, or the untrained,—I do not say that we may dispense with our ecclesiastical indexes and emendations, but—we must not fancy ourselves creating what is already created in spite of us, and which never could at a moment be created by means of us, and we must recognize that historical literature, which is in occupation of the language, both as a fact, nay, and as a standard for ourselves.
There is surely nothing either “temerarious” or paradoxical in a statement like this. The growth of a nation is like that of an individual; its tone of voice and subjects for speech vary with its age. Each age has its own propriety and charm; as a boy's beauty is not a man's, and the sweetness of a treble differs from the richness of a bass, so it is with a whole people. The same period does not produce its most popular poet, its most effective orator, and its most philosophic historian. Language changes with the progress of thought and the events of history, and style changes with it; and while in successive generations it passes through a series of separate excellences, the respective deficiencies of all are supplied alternately by each. Thus language and literature may be considered as dependent on a process of nature, and admitting of subjection to her laws. Father Hardouin indeed, who maintained that, with the exception of Pliny, Cicero, Virgil's Georgics, and Horace's Satires and Epistles, Latin literature was the work of the medieval monks, had the conception of a literature neither national nor historical; but the rest of the world will be apt to consider time and place as necessary conditions in its formation, and will be unable to conceive of classical authors, except as either the elaboration of centuries, or the rare and fitful accident of genius.
First-rate excellence in literature, as in other matters, is either an accident or the outcome of a process; and in either case demands a course of years to secure. We cannot reckon on a Plato, we cannot force an Aristotle, any more than we can command a fine harvest, or create a coal field. If a literature be, as I have said, the voice of a particular nation, it requires a territory and a period, as large as that nation's extent and history, to mature in. It is broader and deeper than the capacity of any body of men, however gifted, or any system of teaching, however true. It is the exponent, not of truth, but of nature, which is true only in its elements. It is the result of the mutual action of a hundred simultaneous influences and operations, and the issue of a hundred strange accidents in independent places and times; it is the scanty compensating produce of the wild discipline of the world and of life, so fruitful in failures; and it is the concentration of those rare manifestations of intellectual power, which no one can account for. It is made up, in the particular language here under consideration, of human beings as heterogeneous as Burns and Bunyan, De Foe and Johnson, Goldsmith and Cowper, Law and Fielding, Scott and Byron. The remark has been made that the history of an author is the history of his works; it is far more exact to say that, at least in the case of great writers, the history of their works is the history of their fortunes or their times. Each is, in his turn, the man of his age, the type of a generation, or the interpreter of a crisis. He is made for his day, and his day for him. Hooker would not have been, but for the existence of Catholics and Puritans, the defeat of the former and the rise of the latter; Clarendon would not have been without the Great Rebellion; Hobbes is the prophet of the reaction to scoffing infidelity; and Addison is the child [pg 312] of the Revolution and its attendant changes. If there be any of our classical authors, who might at first sight have been pronounced a University man, with the exception of Johnson, Addison is he; yet even Addison, the son and brother of clergymen, the fellow of an Oxford Society, the resident of a College which still points to the walk which he planted, must be something more, in order to take his place among the Classics of the language, and owed the variety of his matter to his experience of life, and to the call made on his resources by the exigencies of his day. The world he lived in made him and used him. While his writings educated his own generation, they have delineated it for all posterity after him.
3.
I have been speaking of the authors of a literature, in their relation to the people and course of events to which they belong; but a prior consideration, at which I have already glanced, is their connection with the language itself, which has been their organ. If they are in great measure the creatures of their times, they are on the other hand in a far higher sense the creators of their language. It is indeed commonly called their mother tongue, but virtually it did not exist till they gave it life and form. All greater matters are carried on and perfected by a succession of individual minds; what is true in the history of thought and of action is true of language also. Certain masters of composition, as Shakespeare, Milton, and Pope, the writers of the Protestant Bible and Prayer Book, Hooker and Addison, Swift, Hume, and Goldsmith, have been the making of the English language; and as that language is a fact, so is the literature a fact, by which it is formed, and in which it lives. Men of great ability have taken it in [pg 313] hand, each in his own day, and have done for it what the master of a gymnasium does for the bodily frame. They have formed its limbs, and developed its strength; they have endowed it with vigour, exercised it in suppleness and dexterity, and taught it grace. They have made it rich, harmonious, various, and precise. They have furnished it with a variety of styles, which from their individuality may almost be called dialects, and are monuments both of the powers of the language and the genius of its cultivators.
How real a creation, how sui generis, is the style of Shakespeare, or of the Protestant Bible and Prayer Book, or of Swift, or of Pope, or of Gibbon, or of Johnson! Even were the subject-matter without meaning, though in truth the style cannot really be abstracted from the sense, still the style would, on that supposition, remain as perfect and original a work as Euclid's elements or a symphony of Beethoven. And, like music, it has seized upon the public mind; and the literature of England is no longer a mere letter, printed in books, and shut up in libraries, but it is a living voice, which has gone forth in its expressions and its sentiments into the world of men, which daily thrills upon our ears and syllables our thoughts, which speaks to us through our correspondents, and dictates when we put pen to paper. Whether we will or no, the phraseology and diction of Shakespeare, of the Protestant formularies, of Milton, of Pope, of Johnson's Tabletalk, and of Walter Scott, have become a portion of the vernacular tongue, the household words, of which perhaps we little guess the origin, and the very idioms of our familiar conversation. The man in the comedy spoke prose without knowing it; and we Catholics, without consciousness and without offence, are ever repeating the half sentences of dissolute [pg 314] playwrights and heretical partizans and preachers. So tyrannous is the literature of a nation; it is too much for us. We cannot destroy or reverse it; we may confront and encounter it, but we cannot make it over again. It is a great work of man, when it is no work of God's.
I repeat, then, whatever we be able or unable to effect in the great problem which lies before us, any how we cannot undo the past. English Literature will ever have been Protestant. Swift and Addison, the most native and natural of our writers, Hooker and Milton, the most elaborate, never can become our co-religionists; and, though this is but the enunciation of a truism, it is not on that account an unprofitable enunciation.