PLEASURES OF LITERATURE.
It may be remembered, that somewhat more than two years ago, Mr Willmott's Journal of Summer-time in the Country was noticed in these pages. Those who, through that or any other introduction, have since become acquainted with that exquisite little volume, will be glad to meet the author again, in the not less charming work which he has recently put forth, on the Pleasures, Objects, and Advantages of Literature.[4] The theme itself must be naturally attractive to all book-loving people; and we are prepared to say, that it is treated with felicity and discrimination. We do not aver that we always concur in the writer's judgments, or hold precisely his views of criticism; but we are, upon the whole, very decidedly impressed with the general force and truth of his Discourse, with the gracefulness of his allusions and illustrations, his elegant and pointed style, and the bland and genial temper in which he writes. The work consists of a series of short chapters on books, authors, the circumstances in which they wrote, the moods in which they should be read to be appreciated, the nature and specific qualities of taste, poetry, fiction, the drama, history, and philosophy. The author's turn of mind is chiefly retrospective: he writes more in the spirit of the last age than of the present. Indeed, he seems too much inclined to ignore the value of our later literature; almost the only modern authors whom he quotes are Hallam, Charles Lamb, and Southey; and it is evident, both from the style and matter of the work, that the range of his reading has been most extensive in what he terms the 'classical criticism and biography of the eighteenth century.' This, however, we note only in passing, and not at all in the way of condemnation; further than as it may indicate the limitations to be expected in his tone of thought and sentiment.
Mr Willmott, indeed, speaks disparagingly of some of the severer studies—especially of logic and mathematics; declaring that they 'can only be useful to a full mind,' and that, 'if they find it empty, they leave it in the same state.' Of course, he may be allowed to have his opinion on such a matter; but we presume it will not be very generally adopted. We agree with him that, 'in moral impression they are powerless;' yet we are bound to bear in mind that their aim is not a moral one; and we, furthermore, believe that, within their own scope and province, they may at least be serviceable in training and developing the understanding. Not to dwell longer on this little eccentricity of opinion, which is simply one of idiosyncrasy, let us follow the author into some of the more congenial sections of his dissertation. The following passage, on 'The three essential qualities of an author,' seems not unsuitable for quotation:—
'Sir Philip Sidney said, that the most flying wits must have three wings—art, meditation, exercise. Genius is in the instinct of flight. A boy came to Mozart, wishing to compose something, and inquiring the way to begin. Mozart told him to wait. "You composed much earlier?" "But asked nothing about it," replied the musician. Cowper expressed the same sentiment to a friend: "Nature gives men a bias to their respective pursuits, and that strong propensity, I suppose, is what we mean by genius." M. Angelo is hindered in his childish studies of art; Raffaelle grows up with pencil and colours for playthings: one neglects school to copy drawings, which he dared not bring home; the father of the other takes a journey to find his son a worthier teacher. M. Angelo forces his way; Raffaelle is guided into it. But each looks for it with longing eyes. In some way or other, the man is tracked in the little footsteps of the child. Dryden marks the three steps of progress:—
"What the child admired,
The youth endeavoured, and the man acquired."
'Dryden was an example of his own theory. He read Polybius, with a notion of his historic exactness, before he was ten years old. Witnesses rise over the whole field of learning. Pope, at twelve, feasted his eyes in the picture-galleries of Spenser. Murillo filled the margin of his school-books with drawings. Le Brun, in the beginning of childhood, drew with a piece of charcoal on the walls of the house. The young Ariosto quietly watched the fierce gestures of his father, forgetting his displeasure in the joy of copying from life, into a comedy he was writing, the manner and speech of an old man enraged with his son.
'Cowley, in the history of his own mind, shews the influence of boyish fancies upon later life. He compares them to letters cut in the bark of a young tree, which grow and widen with it. We are not surprised to hear from a school-fellow of the Chancellor Somers, that he was a weakly boy, who always had a book in his hand, and never looked up at the play of his companions; to learn from his affectionate biographer, that Hammond at Eton sought opportunities of stealing away to say his prayers; to read that Tournefort forsook his college class, that he might search for plants in the neighbouring fields; or that Smeaton, in petticoats, was discovered on the top of his father's barn, in the act of fixing the model of a windmill which he had constructed. These early traits of character are such as we expect to find in the cultivated lawyer, who turned the eyes of his age upon Milton; in the Christian, whose life was one varied strain of devout praise; in the naturalist, who enriched science by his discoveries; and in the engineer, who built the Eddystone Lighthouse.'
This accords very well with a notion of our own. We hold that men have a tendency to follow what they are by nature best qualified to succeed in; and that the fact ought to be regarded in the education of the individual. Education should include the study and trial of aptitudes, so that each may be directed to his appropriate vocation. It is true, there are sometimes such things as 'false tendencies' to be encountered; but these, as Goethe has shewn, may be readily detected, inasmuch as they are plainly 'unproductive;' that is to say, the thing aimed after does not come out as a recognisable success. False tendencies are more easily perceived in others than in ourselves—especially when ambition, interest, or vanity is involved in the consideration; and on this account the difficulty, perhaps, might not be insurmountable, if the charge of it could be committed to a really judicious educator. But to say anything further on the subject would be out of place at present; and, accordingly, we return to what is more immediately before us.