'The instinct of flight,' continues our author, 'is combined with the instinct of labour. Genius lights its own fire; but it is constantly collecting materials to keep alive the flame. When a new publication was suggested to Addison, after the completion of the Guardian, he answered: "I must now take some time, pour me délasser, and lay in fuel for a future work." The strongest blaze soon goes out when a man always blows and never feeds it. Johnson declined an introduction to a popular author with the remark, that he did not desire to converse with a person who had written more than he had read.
'It is interesting to follow great authors or painters in their careful training and accomplishing of the mind. The long morning of life is spent in making the weapons and the armour which manhood and age are to polish and prove. Usher, when nearly twenty years old, formed the daring resolution of reading all the Greek and Latin fathers, and with the dawn of his thirty-ninth year he completed the task. Hammond, at Oxford, gave thirteen hours of the day to philosophy and classical literature, wrote commentaries on all, and compiled indexes for his own use.
'With these calls to industry in our ears, we are not to be deaf to the deep saying of Lord Brooke, the friend of Sidney, that some men overbuild their nature with books. The motion of our thoughts is impeded by too heavy a burden; and the mind, like the body, is strengthened more by the warmth of exercise than of clothes. When Buffon and Hogarth pronounced genius to be nothing but labour and patience, they forgot history and themselves. The instinct must be in the mind, and the fire be ready to fall. Toil alone would not have produced the Paradise Lost or the Principia. The born dwarf never grows to the middle size. Rousseau tells a story of a painter's servant, who resolved to be the rival or the conqueror of his master. He abandoned his livery to live by his pencil; but instead of the Louvre, he stopped at a sign-post. Mere learning is only a compiler, and does with the pen what the compositor does with the type: each sets up a book with the hand. Stone-masons collected the dome of St Paul's, but Wren hung it in air.'
There is, perhaps, nothing very profound or original in this, but it is all very sensible and pleasant. Something of novelty, however, will be observed in the extract which follows next, on 'The Influence of Air and Situation on the Thoughts.' The consideration, at anyrate, is curious, both under its physiological and metaphysical aspect.
'It has been a subject of ingenious speculation if country or weather may be said to cherish or check intellectual growth. Jeremy Collier considered that the understanding needs a kind climate for its health, and that a reader of nice observation might ascertain from the book in what latitude, season, or circumstances, it had been written. The opponents are powerful. Reynolds ridiculed the notion of thoughts shooting forth with greater vigour at the summer solstice or the equinox; Johnson called it a fantastic foppery.
'The atmospheric theory is as old as Homer. Its laureate is Montesquieu. The more northerly you go, he said, the sterner the man grows. You must scorch a Muscovite to make him feel. Gray was a convert. One of the prose hints for his noble fragment of a didactic poem runs thus: "It is the proper work of education and government united, to redress the faults that arise from the soil and air." Berkeley entertained the same feeling. Writing to Pope from Leghorn, and alluding to some half-formed design he had heard him mention of visiting Italy, he continues: "What might we not expect from a muse that sings so well in the bleak climate of England, if she felt the same warm sun, and breathed the same air with Virgil and Horace?"
'When Dyer attributes the faults of his Fleece to the Lincolnshire fens, he only awakes a smile. Keats wrote his Ode to a Nightingale—a poem full of the sweet south—at the foot of Highgate Hill. But we have the remark of Dryden—probably the result of his own experience—that a cloudy day is able to alter the thoughts of a man; and, generally, the air we breathe, and the objects we see, have a secret influence upon our imagination. Burke was certain that Milton composed Il Penseroso in the long, resounding aisle of a mouldering cloister, or ivied abbey. He beheld its solemn gloom in the verse. The fine nerves of the mind are braced, and the strings of the harp are tuned, by different kinds of temperature. "I think," Warburton remarked to Hurd, "you have often heard me say, that my delicious season is the autumn—the season which gives most life and vigour to my intellectual faculties. The light mists, or, as Milton calls them, the steams that rise from the fields in one of these mornings, give the same relief to the views that the blue of the plum gives to the appetite."
'Mozart composed, whenever he had the opportunity, in the soft air of fine weather. His Don Giovanni and the Requiem were written in a bowling-green and a garden. Chatterton found a full moon favourable to poetic invention, and he often sat up all night to enjoy its solemn shining. Winter-time was most agreeable to Crabbe. He delighted in a heavy fall of snow; and it was during a severe storm which blocked him within doors, that he portrayed the strange miseries of Sir Eustace Grey.'
There may be something in this supposed influence of temperature and seasons; but there certainly is no general law observable in the matter. Shakspeare asks—
'Oh who can take a fire in his hand
By thinking of the frosty Caucasus?
Or wallow naked in December's snows
By bare remembrance of the summer's heat?'