"Yes; I might read up countries, but it is so unlikely that I should ever see them, that it does not seem much use to read up for nothing."
"Well, supposing that you did not go, but that you had read books on Italian Art, and made out a list of the pictures you wanted to see at each great town—Florence, Venice, Rome, Siena—and knew about each painter, his history, his style, and photographs of his works, and copied out under each picture what good critics had said of it, or at least put a reference to the book where it was mentioned (e.g. Kingsley's description of Bellini's Doge; Browning on Fra Lippo Lippi's Coronation of the Virgin; Ruskin's best descriptions); and if you looked out all the famous men of each town, and knew their history, and what parts of the town were sacred to them; if you studied the buildings of each town, looked up its architecture, and tried to draw it from photographs and illustrations, and then hunted out all the poetry and novels about each place, and drew out a sketch of its history, marking where the local history of the town dovetailed into larger European interests, and specially where it touched England—I think, after this, you would enjoy meeting any one from Italy almost as much as if you had been there, and you would not feel you had read up for nothing. I should take a fresh country every year, and make believe that you were going to it next summer, and that you were getting ready to be 'Eyes,' and not 'No Eyes,' while there. You would have got the spirit of the country by this, far more than ninety-nine out of a hundred of those who go to it in the flesh. You are leaving school at eighteen, and by the time you are five and twenty, i.e. before you are fully grown up, you might have thus visited Italy, France, Germany, Spain, America, India, which would make you a fairly cultivated person."
"But it is so hard to get books; I can read Ruskin while I am with you, and when I am with Uncle Charles I could find some of the others I should want, but I can't get hold of a course of reading at home."
"But if you have such a large peg as Italy on which to hang your reading, you can always find something which bears on it—you can borrow an odd book here and there, or pick up bits in a stray magazine; several of the books you would want are cheap to buy, and, if you keep a list of them, you will be surprised to find from what odd quarters they turn up. People have a way of saying, 'Oh, do recommend me a book,' as if all subjects were equally interesting, or rather uninteresting, and they borrow the first that comes, reading it as a duty, quite regardless of the fact that it does not belong to anything they have read before, or will read after; but if they had made up their mind on a subject, the lending friend would take far more interest, and probably hunt up something that bore on the subject, while the reader would be more likely to get good."
"But if I begin Ruskin here, and then go home, where I may perhaps find an Italian history, and then go for another visit and find something else, it will all be so disjointed."
"Yes, it would be nicer if you could go on with art or architecture; but your reading will not be so desultory as to be useless, if it is all strung on the one thread of Italy, and then you can group it, as you go along, in a commonplace book. I should take a large one, and divide it among the towns I wanted to see, and then subdivide the pages given to, e.g. Florence, under the heads of art, history, famous men, architecture, poetry, novels, and, as I read anything on these subjects, I should jot down the substance of it under the right heading, or if it was a poem, just give the title and one or two of the best lines. And you could keep up your French and German at the same time—suppose you read Corinne and the Improvisator, they would both help to keep you in an Italian atmosphere."
"Yes, I could keep up my reading, but how about the grammar?"
"I should recommend you to take a very conversational novel and turn a page of it into both French and German every week; this would keep up all the rules of grammar, and, though you might make mistakes, you would gain fluency in expressing yourself, which is much more needed than grammatical accuracy if you go abroad, for a course of lessons will set you right about the grammar at any time, but would not make you talk, if you had allowed yourself to get tongue-tied by not practising translation from English into French; and I should advise you to translate very freely, and use the dictionary as little as possible; if you cannot remember the exact rendering, twist the sentence and paraphrase it, till you can manage it, simply to learn to express your thoughts easily. I should say an hour a week of this would keep up both French and German."
"But you have said nothing of English History and Literature."
"I should be inclined to drop English History for the first year, because you know so much more of that than of Foreign and Ancient History, but if you like it I should take some one prominent reign—Elizabeth or Charles I., or Anne or George III., and get to know all the chief people, read their memoirs, and what they themselves wrote, so as to feel among friends whenever you hear a name of that period mentioned—and read all essays, etc. that you can find upon it. To keep your mind generally open, I should make a chart of contemporary history and another of literature, taking one century a month, and leaving plenty of space for adding things afterwards. In Literature, I should take one of the Men of Letters every month, or one of the Foreign Classics, and at the same time read any of the man's own works that I could. Modern poets and novelists and essayists I should read at odd times, specially making it a matter of conscience never to open a novel before luncheon! I should read my poets not only promiscuously, as the fancy took me, but compare their treatment of different subjects; e.g., you might make yourself a private New Year's Eve service, of all the poems on it you can find—Coleridge, Tennyson, and Elia's prose poem on the same subject. Or you could make a Shepherd's Calendar for yourself, and copy out under each month what poets have said about it, and its flowers and features generally: or a Poet's Garden; collect all the bits about flowers, and make a 'Poet's Corner' in your garden, admitting no flower that cannot bring some poetry as its credential. It will make country life far more enjoyable if you know your poets as Thomas Holbrook, in 'Cranford,' knew Tennyson."