If now the relations of England to European affairs bring him to British ground, he is arrived at the very moment when modern history takes new proportions. He can look back for the legends and mythology to the “Younger Edda� and the “Heimskringla� of Snorro Sturleson, to Mallet’s “Northern Antiquities,� to Ellis’s “Metrical Romances,� to Asser’s “Life of Alfred� and Venerable Bede, and to the researches of Sharon Turner and Palgrave. Hume will serve him for an intelligent guide, and in the Elizabethan era he is at the richest period of the English mind, with the chief men of action and of thought which that nation has produced, and with a pregnant future before him. Here he has Shakspeare, Spenser, Sidney, Raleigh, Bacon, Chapman, Jonson, Ford, Beaumont and Fletcher, Herbert, Donne, Herrick; and Milton, Marvell, and Dryden, not long after.
In reading history, he is to prefer the history of individuals. He will not repent the time he gives to Bacon,—not if he read the “Advancement of Learning,� the “Essays,� the “Novum Organum,� the “History of Henry VII.,� and then all the “Letters� (especially those to the Earl of Devonshire, explaining the Essex business), and all but his “Apophthegms.�
The task is aided by the strong mutual light which these men shed on each other. Thus, the works of Ben Jonson are a sort of hoop to bind all these fine persons together, and to the land to which they belong. He has written verses to or on all his notable contemporaries; and what with so many occasional poems, and the portrait sketches in his “Discoveries,� and the gossiping record of his opinions in his conversations with Drummond of Hawthornden, he has really illustrated the England of his time, if not to the same extent, yet much in the same way, as Walter Scott has celebrated the persons and places of Scotland. Walton, Chapman, Herrick, and Sir Henry Wotton write also to the times.
Among the best books are certain Autobiographies: as, St. Augustine’s Confessions; Benvenuto Cellini’s Life; Montaigne’s Essays; Lord Herbert of Cherbury’s Memoirs; Memoirs of the Cardinal de Retz; Rousseau’s Confessions; Linnæus’s Diary; Gibbon’s, Hume’s, Franklin’s, Burns’s, Alfieri’s, Goethe’s, and Haydon’s Autobiographies.
Another class of books closely allied to these, and of like interest, are those which may be called Table-Talks: of which the best are Saadi’s Gulistan; Luther’s Table-Talk; Aubrey’s Lives; Spence’s Anecdotes; Selden’s Table-Talk; Boswell’s Life of Johnson; Eckermann’s Conversations with Goethe; Coleridge’s Table-Talk; and Hazlitt’s Life of Northcote.
There is a class whose value I should designate as Favorites: such as Froissart’s Chronicles; Southey’s Chronicle of the Cid; Cervantes; Sully’s Memoirs; Rabelais; Montaigne; Izaak Walton; Evelyn; Sir Thomas Browne; Aubrey; Sterne; Horace Walpole; Lord Clarendon; Doctor Johnson; Burke, shedding floods of light on his times; Lamb; Landor; and De Quincey;—a list, of course, that may easily be swelled, as dependent on individual caprice. Many men are as tender and irritable as lovers in reference to these predilections. Indeed, a man’s library is a sort of harem, and I observe that tender readers have a great pudency in showing their books to a stranger.
The annals of bibliography afford many examples of the delirious extent to which book-fancying can go, when the legitimate delight in a book is transferred to a rare edition or to a manuscript. This mania reached its height about the beginning of the present century. For an autograph of Shakspeare one hundred and fifty-five guineas were given. In May, 1812, the library of the Duke of Roxburgh was sold. The sale lasted forty-two days,—we abridge the story from Dibdin,—and among the many curiosities was a copy of Boccaccio published by Valdarfer, at Venice, in 1471; the only perfect copy of this edition. Among the distinguished company which attended the sale were the Duke of Devonshire, Earl Spencer, and the Duke of Marlborough, then Marquis of Blandford. The bid stood at five hundred guineas. “A thousand guineas,� said Earl Spencer: “And ten,� added the Marquis. You might hear a pin drop. All eyes were bent on the bidders. Now they talked apart, now ate a biscuit, now made a bet, but without the least thought of yielding one to the other. But to pass over some details,—the contest proceeded until the Marquis said, “Two thousand pounds.� The Earl Spencer bethought him like a prudent general of useless bloodshed and waste of powder, and had paused a quarter of a minute, when Lord Althorp with long steps came to his side, as if to bring his father a fresh lance to renew the fight. Father and son whispered together, and Earl Spencer exclaimed, “Two thousand two hundred and fifty pounds!� An electric shock went through the assembly. “And ten,� quietly added the Marquis. There ended the strife. Ere Evans let the hammer fall, he paused; the ivory instrument swept the air; the spectators stood dumb, when the hammer fell. The stroke of its fall sounded on the farthest shores of Italy. The tap of that hammer was heard in the libraries of Rome, Milan, and Venice. Boccaccio stirred in his sleep of five hundred years, and M. Van Praet groped in vain among the royal alcoves in Paris, to detect a copy of the famed Valdarfer Boccaccio.
Another class I distinguish by the term Vocabularies. Burton’s “Anatomy of Melancholy� is a book of great learning. To read it is like reading in a dictionary. ’Tis an inventory to remind us how many classes and species of facts exist, and, in observing into what strange and multiplex by-ways learning has strayed, to infer our opulence. Neither is a dictionary a bad book to read. There is no cant in Germans, it, no excess of explanation, and it is full of suggestion,—the raw material of possible poems and histories. Nothing is wanting but a little shuffling, sorting, ligature, and cartilage. Out of a hundred examples, Cornelius Agrippa “On the Vanity of Arts and Sciences� is a specimen of that scribatiousness which grew to be the habit of the gluttonous readers of his time. Like the modern they read a literature while other mortals read a few books. They read voraciously, and must disburden themselves; so they take any general topic, as, Melancholy, or Praise of Science, or Praise of Folly, and write and quote without method or end. Now and then out of that affluence of their learning comes a fine sentence from Theophrastus, or Seneca, or Boëthius, but no high method, no inspiring efflux. But one cannot afford to read for a few sentences; they are good only as strings of suggestive words.
There is another class, more needful to the present age, because the currents of custom run now in another direction, and leave us dry on this side;—I mean the Imaginative. A right metaphysics should do justice to the co-ordinate powers of Imagination, Insight, Understanding, and Will. Poetry, with its aids of Mythology and Romance, must be well allowed for an imaginative creature. Men are ever lapsing into a beggarly habit, wherein everything that is not ciphering, that is, which does not serve the tyrannical animal, is hustled out of sight. Our orators and writers are of the same poverty, and, in this rag-fair, neither the Imagination, the great awakening power, nor the Morals, creative of genius and of men, are addressed. But though orator and poet be of this hunger party, the capacities remain. We must have symbols. The child asks you for a story, and is thankful for the poorest. It is not poor to him, but radiant with meaning. The man asks for a novel,—that is, asks leave for a few hours to be a poet, and to paint things as they ought to be. The youth asks for a poem. The very dunces wish to go to the theatre. What private heavens can we not open, by yielding to all the suggestion of rich music! We must have idolatries, mythologies,—some swing and verge for the creative power lying coiled and cramped here, driving ardent natures to insanity and crime if it do not find vent. Without the great arts which speak to the sense of beauty, a man seems to me a poor, naked, shivering creature. These are his becoming draperies, which warm and adorn him. Whilst the prudential and economical tone of society starves the imagination, affronted Nature gets such indemnity as she may. The novel is that allowance and frolic the imagination finds. Everything else pins it down, and men flee for redress to Byron, Scott, Disraeli, Dumas, Sand, Balzac, Dickens, Thackeray, and Reade. Their education is neglected; but the circulating-library and the theatre, as well as the trout-fishing, the Notch Mountains, the Adirondack country, the tour to Mont Blanc, to the White Hills, and the Ghauts, make such amends as they can.
The imagination infuses a certain volatility and intoxication. It has a flute which sets the atoms of our frame in a dance, like planets; and, once so liberated, the whole man reeling drunk to the music, they never quite subside to their old stony state. But what is the imagination? Only an arm or weapon of the interior energy; only the precursor of the reason. And books that treat the old pedantries of the world, our times, places, professions, customs, opinions, histories, with a certain freedom, and distribute things, not after the usages of America and Europe, but after the laws of right reason, and with as daring a freedom as we use in dreams, put us on our feet again, enable us to form an original judgment of our duties, and suggest new thoughts for to-morrow.