Most briefly, then, thus: there is religion enough to keep it solemn, without being so experimental as to intrude upon personal prejudice. The notion is too slight, and too slenderly worked out, even for admission here, if I were not still, my shrewd and mindful reader, sedulously endeavouring to get rid of all my brain-oppressing fancies: and this, happening to come uppermost as I write, finds itself caught, to my comfort. It is commended, if worth any thing, to the musical proficient: for I might as well think of adding a note to the gamut as of trying to compose an oratorio.
The authorial mind is infinitely versatile: books and book-making are indeed its special privilege, forte, and distinguishing peculiarity; but still its thoughts and regards are ever cast towards originality of idea, though unwritten and unprinted, in all the multitudinous departments of science and of art. Thus, mechanical invention, chemical discovery, music as above, painting as elsewhere, sculpture as below, give it exercise continually. The authorial mind never is at rest, but always to be seen mounted and careering on one hobby-horse or other out of its untiring stud. If the coin of some rude Parthian, or the fragments of some old Ephesian frieze, serve not as a scope for its present ingenuities, it will break out in a new method of grafting raspberries on a rosebush, in the comfortable cut of a pilot-coat, or the safest machinery for a steamer. Ne sutor ultra crepidam is a rule of moderation it repudiates; incessant energy provokes unabated meddling, and its intuitive qualities of penetration, adaptation, and concentration, are only hindered by the accidents of life from carrying any one thing out to the point at least of respectable attainment. Look at Michael Angelo; poet, painter, sculptor, architect, and author: and if indeed we are not told of Milton having modeled, or Horace having built up other monuments than his own imperishable fame, still nothing but manual habit and the world's encouragement were wanting to perfect, in the concrete, the conceptions of those plastic minds. Who will deny that Hogarth was a novelist and play-wright, if not indeed a heart-rending tragedian? Who will refuse to those nameless monastic architects who planned and fashioned the fretted towers of Gloucester, the stern solidity of Durham, the fairy steeple of Strasburg, or the delicate pinnacles of Milan, the praise due to them of being genuine poets of the immortal Epic? Phidas and Praxiteles, Canova and Thorswaldsen, are in this view real authors, as undoubtedly as Homer or Dante, Sallust or Racine; and to rise highest in this argument, the heavens and the earth are but mighty scrolls of an Omniscient Author, fairly written in a universal tongue of grandeur and beauty, of skill, poetry, philosophy, and love.
But let me not seem to prove too much, and so leap over my horse instead of vaulting into the saddle: though authorship may claim thus extensively every master-mind, from the Adorable Former of all things down to the humblest potter at his wheel fashioning the difficult ellipse; still, in human parlance, must we limit it to common acceptations, and think of little more than scribe, in the name of author. Nevertheless, let such seeds of thought as here are carelessly flung out, nurtured in the good soil of charity, and not unkindly forced into foolish accusations of my own conceit, whereas their meaning is general, (as if forsooth selfishly dibbled in with vain particularity, and not liberally broadcast that he may run that reads,)—let such crude considerations excuse my own weak and uninjurious invasion of the provinces of other men. The wisdom for social purposes of infinitesimal division of labour, may be proved good by working well; but its lowering influences on the individual mind cannot be doubted: that an intelligent man should for a life-time be doomed to watch a valve, or twist pin-heads, or wind cotton, or lacquer coffin-nails, cannot be improving; and while I grant great evil in my desultory excesses, still I may make some use of that argument in the converse, and plead that it is good to exercise the mind on all things. Thus, in my assumed métier of authorship, let notions be extenuated that popularly concern it little, and yield admittance to any thought that may lead to that Athenian desideratum, "some new thing."
While the echoes of the name of Alfred still linger on the mind, and our patriotism looks back with gratitude on his thousand virtues unsullied by a fault, (at least that History, seldom so indulgent, has recorded,)—while we reflect that in him were combined the wise king, the victorious general, the enlightened scholar, the humble Christian, the learned author, the excellent father, the admirable MAN in all public and private relations, in domestic alike with social duties, I cannot help wishing that forgetful England had raised some architectural trophy, as a worthy testimonial of Alfred the noble and the good. Whether Oxford, his pet child—or Westminster Hall, as mindful of the code he gave us—or Greenwich, as the evening resting-place of those sons of thunder whom the genius of Alfred first raised up to man our wooden walls—should be the site of some great national memorial, might admit of question; but there can be none that something of the kind has been owing now near upon a thousand years, and that it will well become us to claim boastingly for England so true, so glorious a hero. With a view to expedite this object, and strictly to bear upon the topic in author-fashion, it has come into my thought how much we want a
LIFE OF ALFRED:
my little reading knows of none, beyond what dictionaries have gathered from popular history and vague tradition, rather than manuscripts of old time, and Asser, the original biographer. Of this last work, written originally in Saxon, and since translated into Latin, I submit that a popular English version is imperatively called for; a translation from a translation being never advisable, (compare Smollett's Anglo-Gallified dilution of 'Don Quixote,') the primary source should be again consulted; and seeing that profound ignorance of the ancient Saxon coupled with, as now, total indifference about its acquisition, place me in the list of incapables, I leave the good suggestion to be used by pundits of the Camden or Roxburghe or other book-learned society. If it may have been already done by some neglected scribe, bring it to the light, and let us see the bright example set to all future ages by that early Crichton; if never yet accomplished, my zeal is over-paid should the hint be ever acted on; and if, which is still possible, an English version of the life of Alfred should be positively rife and common among the reading public, your humble ignoramus has nothing for it but to pray pardon of its author for not having known him, and to walk softly with the world for writing so much before he reads.
But this is an accessory—an episode; I plead for a statue to King Alfred: and—(now for another episode; is there no cure for these desperate parentheses?)—apropos of statues, let me, in the simple untaught light of nature, suggest a word or two with regard to some recent under-takings. Notwithstanding classical precedents, whereof more presently, it does seem ridiculous to common sense, to set a man like a scavenger-bird at Calcutta, or a stork at Athens, or a sonorous Muezzin, or a sun-dried Simeon Stylites, on the top of a column a hundred feet high: sculpture imitates life, and who would not shudder at such an unguarded elevation? sculpture imitates life, and who can recognise a countenance so much among the clouds? Again for the precedents: I presume that Pompey's pillar, (which, indeed, perhaps never had any thing on its summit except some Egyptian emblem, as the cap and throne of higher and lower Egypt, or a key of the Nile as likely as any thing,) is the most notable, if not the first, of solitary columns: now, Pompey, or, as some prefer, Diocletian, and others Alexander Severus, had that fine pillar ferried over from the quarries of Lycian Xanthus; at least, this is a good idea, seeing that near that place still lie three or four other columns of like gigantic dimensions, unfinished, and believed to have been intended to support the triglyph of some new temple. Pompey's idea was to fix the pillar up as a sea-mark, for either entering the harbour of Alexandria, or to denote shallows, anchorage, or the like; but apart from this actual utility, and apart also from its acknowledged ornament as a sentinel on that flat strand, I take it to be an architectural absurdity to erect a regular-made column with little or nothing to support: an obelisk now, or a naval trophy, or a tower decorated with shields, or a huge stele or cippus, or a globe, or a pyramid, or a Waltham-cross sort of edifice, (of course all these supporting nothing on their apices,) in fact, any thing but a Corinthian or Tuscan, or other regular pillar, seems to be permissable; but for base, shaft, and capital to have nothing to do but lift a telescopic man from earth's maternal surface, does look not a little unreasonable; and therefore as much out of taste, as for the marble arch at Buckingham Palace to spend its energies in supporting a flag-staff.
The magnificent column of Trajan is exempted from this hasty bit of criticism, (as also of course is its modern counterpart, Napoleon's,) because it is, both from decoration and proportions, out of the recognised orders of architecture; it partakes rather of the character of a triumphal tower, than of one among many pillars separated chiefly from the rest; the man is a superlative accessory, a climax to his positive exploits; he does not stand a-top, as if dropt from a balloon, but like a gallant climber treading on his conquests: and, as to Phocas's column at Rome, I shall only say, that it illustrates my meaning, except in so far as an immense base to the super-imposed statuere deems it from the jockey imputation of carrying too light a weight. Now, with respect to the Nelson memorial, your meddlesome scribe had an unexhibited notion of his own. Mehemet Ali is understood to have given certain two obelisks respectively to the French and English nations: the Parisians appropriated theirs, and have set it up, thorn-like, in their midst, perhaps as an emblem of what African conquest has been in the heartside of France; but we English, less imaginative, and therefore less antiquarian, have permitted our petit cadeau to lie among its ruins of Luxor or Karnac, unclaimed and unconsidered.
Nelson of the Nile might have had this consecrated to his honour: and if, as is probable, it be of insufficient elevation, I should have proposed a high flight of steps and a base, screened all round by shallow Egyptian entrances, with an Etruscan sarcophagus just within the principal one, (Egypt and Etruria were cousins germane,) and an alto-relievo of Nelson dying, but victorious, recumbent on the lid: the globe and wings, emblems alike of Nelson's rapidity, his universal fame, and his now-emaciated spirit, might be sculptured over each entrance; a sphinx, or a Prudhoe lion, being allusive to England as well as Egypt, should sit guardiant at each corner of the steps; and the three remaining doorways would be represented closed, and carved externally with some allegorical personations of Nelson's career, of the Nile, Copenhagen, and Trafalgar. This, then, had it been strictly in my métier, (a happy métier mine of literary leisure,) should have been my limnèd outline for the Nelson testimonial: the real interesting antique needle, rising from the midst of its solid Egyptian architecture, and pointing to the skies; not a steeple, however, but merely the obelisk raised upon a heavy base, only hollowed far enough to admit of an interior alto-relievo.