Genius in Sunshine and Shadow

by Maturin M. Ballou

It is known to every mathematician that the regular gambler must lose in the end, even though he may "break the bank" now and then. Even if the bank is honestly conducted, all the chances are against him. The theory of probabilities has become almost an exact science. Arago,—the famous French astronomer and natural philosopher,—when consulted by a gentleman who was infatuated with the terrible vice of gambling, told him, within a few francs, how much he had lost the preceding year. "But I must play," was the answer. "It is true that I find my fortune diminishing every year, as you have stated; but can you not tell me how, on a capital of five million francs, I may save enough to give me a decent burial in the end?" Arago, after learning the gambler's method of playing, and the sum he risked, told him that he must reduce the amount of his daily ventures to a certain small number of francs, and that, according to the law of chances, however cool and calm his playing, he would lose his five million francs in about fifteen years. Every body of stockholders in a faro bank can calculate on twenty per cent of their investment being returned to them yearly.

Could genius enjoy the advantage of being judged by its peers, it would stand a better chance for contemporary fame; but overshadowed, as it so often is, by foibles, waywardness, and those passions alike common to the humble and the exalted, it must pass through the crucible of time to fit it for sincere homage. Robert Burns, whose struggle with fate began almost beside the cradle, and whose youth was one ceaseless buffeting with misfortune, is an illustration in point. His productions are not of a character to set aside altogether the remembrance of his follies, though we are all inclined to treat the memory of the Scottish bard with indulgence and half reverence, while we hasten to acknowledge his great and unquestioned genius. Burns was sadly addicted to whiskey and tobacco, which led Byron, as we have already said, to call him "a strange compound of dirt and deity." The author of "Childe Harold" forgot the proverb about those who live in glass houses. Burns, from early youth, was subject to extraordinary fits of dejection, which amounted to a species of hypochondria, long before convivial society had inoculated him with the then popular vice of intemperance. He became finally an incongruous mixture of mirth and melancholy, while poverty with its attendant ills was seldom from his door. He writes to a friend: "I have been for some time pining under secret wretchedness; the pang of disappointment, the sting of pride, and some wandering stabs of remorse settle on my vitals like vultures when my attention is not called away by the claims of society or the vagaries of the Muse." Poor, ill-fated genius![146] By his follies and indulgences he as surely committed suicide in his thirty-seventh year as did the starving, half-delirious Chatterton on his bed of straw.

Mrs. Dunlop, an early patroness of Burns, had in her family an old and favored housekeeper, who did not exactly relish her mistress's attention to a man of such low estate. In order to overcome her prejudice, her mistress induced the domestic to read one of Burns's poems, the "Cotter's Saturday Night." When Mrs. Dunlop inquired her opinion of the poem, the housekeeper replied with quaint indifference, "Aweel, madam, that's vera weel." "Is that all you have to say in its favor?" asked the mistress. "'Deed, madam," she replied, "the like o' you quality may see a vast in 't; but I was aye used the like o' all that the poet has written about in my ain father's house, and atweel I dinna ken how he could hae described it any other gate." When Burns heard of the old woman's criticism, he remarked that it was one of the highest compliments he had ever received.

The name of Thoreau suggests itself in this connection. He lived in a cabin erected by himself on the borders of Walden Pond, a voluntary hermit, frugal and self-denying, that he might enjoy a studious retirement. The intimate friend of Emerson and Hawthorne must have had fine original qualities to commend him. Known at the outset only as an oddity, he grew finally to be respected and admired for his quaint genius. He experienced a disappointment in love, which doubtless had much to do with his social peculiarities.[147] In business and the affairs of every-day life he was utterly impracticable. He supported himself during his college course at Cambridge by teaching school, doing carpentering, and other work. The restrictions of society were intolerable to him; he never attended church, never paid a tax, and never voted. He ate no flesh, drank no wine, never used tobacco, and though a naturalist, used neither trap nor gun. When asked at dinner what dish he preferred, he answered, "The nearest." "So many negative superiorities smack somewhat of the prig," says one of his reviewers. "Time," says Thoreau, in his fanciful way, "is but a stream I go fishing in. I drink at it, but while I drink I see the sandy bottom and detect how shallow it is. Its thin current slides away, but eternity remains. I would drink deeper—fish in the sky, whose bottom is pebbly with stars." He worshipped Nature in all her forms, and depicted with a loving and exuberant fancy hills and water, with the myriad life which peopled them. He wrote several books which are read to-day with more of interest than when the author was alive.

Genius and inspiration are so nearly allied as to leave no dividing line, and the sublimity of martyrdom is often added to the column of fame. Joan of Arc, the most illustrious heroine of history, was born a poor peasant girl of Lorraine; but at the age of eighteen, impelled by an exalted enthusiasm, she commanded an army of devoted followers, and raising the siege of Orleans gave to Charles VII. a crown. At the age of thirteen she said she received commands from Heaven to go and liberate France; and with a confidence of Divine support she pursued her mission. No romancer would dare to imagine or portray so glorious a heroine; fiction could not equal the actual deeds that this pure and lowly girl accomplished.[148] That she was the agent of Divine Providence to bring about a great political object goes without saying; yet this maid of Domremy was burned at the stake.

Rachel, the child of poverty, the itinerant of the Parisian boulevards, infused with genius, suddenly became the idol of courts and of princes, being as devoutly worshipped by the lovers of art on the banks of the Neva and the Thames as on the shores of her beautiful Seine. How strange were the vicissitudes of this wonderful artist, this frail child of genius! An actress of transcendent dramatic power, she leaves us the souvenir of a splendid star of histrionic art extinguished when it burned the brightest. One day, when Rachel was thus singing and reciting on the public street, a benevolent-looking man, with pitying eyes, was attracted, in passing, by the child's intelligent look, and put a five-franc piece in her hand. She took the silver with a grateful courtesy and watched him until he passed out of sight. A citizen who had seen the generous act said, "That was Victor Hugo;" and the child-actress remembered the name ever after. But little did the great poet anticipate what the pale-faced child was destined to become in that world of art of which he was so distinguished a disciple.

Edwin Forrest, our own famous tragedian, was in Paris in 1836, and was invited by the manager to see an actress who was to make her début at one of the theatres on a certain evening. The manager asked him, in the course of the performance, what he thought of the débutante. Forrest replied that he feared she would never rise above mediocrity, and added, "But that Jewish-looking girl, that little bag of bones, with the marble face and the flaming eyes,—there is demoniacal power in her. If she lives and does not burn out too soon, she will make a great actress." He referred to Rachel, then in her fifteenth year. We all know how that genius developed. Parsimony was a fixed trait of her character; she could not help it. "Is it any wonder," she once said to a friend, "that I should be fond of money, considering the suffering I went through in my youth to earn a few sous?"

It appears as if Nature scattered her seeds of genius to the wind, so many take root and blossom in sterile places, and also that she delights to add vigor and glory to her chance productions. Thus Adelina Patti, the greatest prima donna of her day, was once a barefooted child in the streets of New York. Kings and queens, spellbound by her glorious voice, have delighted to honor her; but her domestic life was wrecked at the moment of her greatest professional triumph. Complete success is granted to none. Some bitterness is sure to tincture our cup of bliss, for, after all, it is of earth and not of heaven. Perfection may exist with angels above, but not among mortals. The life of genius is beset with extraordinary temptations; the stimulating spur of praise, flattery, and high homage should be, but rarely is, counterbalanced by the curb of reason. We have already seen that great genius and true domestic happiness are seldom found under the same roof. The extraordinary development of certain faculties argues diminution in others; and where there are extremes, it is ever difficult to harmonize the various parts.

Miss Landon, the youthful and tender poetess and novelist, known to the world by her familiar signature "L. E. L.," coined the treasures of her brain to support those who were dependent upon her. In one of her letters she says, "My life, since the age of fifteen years, has been one incessant struggle with adversity." Her productions can hardly be said to bear the stamp of high genius, but they enjoyed a certain popularity and procured the much-needed money. The mystery of her early and mournful death is only known in heaven. She died from a dose of prussic acid, in her thirty-sixth year, which was also her bridal year.[149]