Principle is a passion for truth; an incorrigible attachment to a general proposition. Good-nature is humanity that costs nothing. No good-natured man was ever a martyr to a cause, in religion or politics. He has no idea of striving against the stream. He may become a good courtier and a loyal subject; and it is hard if he does not, for he has nothing to do in that case but to consult his ease, interest, and outward appearances. The Vicar of Bray was a good-natured man. What a pity he was but a vicar! A good-natured man is utterly unfit for any situation or office in life that requires integrity, fortitude, or generosity,—any sacrifice, except of opinion, or any exertion, but to please. A good-natured man will debauch his friend’s mistress, if he has an opportunity; and betray his friend, sooner than share disgrace or danger with him. He will not forego the smallest gratification to save the whole world. He makes his own convenience the standard of right and wrong. He avoids the feeling of pain in himself, and shuts his eyes to the sufferings of others. He will put a malefactor or an innocent person (no matter which) to the rack, and only laugh at the uncouthness of the gestures, or wonder that he is so unmannerly as to cry out. There is no villainy to which he will not lend a helping hand with great coolness and cordiality, for he sees only the pleasant and profitable side of things. He will assent to a falsehood with a leer of complacency, and applaud any atrocity that comes recommended in the garb of authority. He will betray his country to please a Minister, and sign the death-warrant of thousands of wretches, rather than forfeit the congenial smile, the well-known squeeze of the hand. The shrieks of death, the torture of mangled limbs, the last groans of despair, are things that shock his smooth humanity too much ever to make an impression on it: his good-nature sympathizes only with the smile, the bow, the gracious salutation, the fawning answer: vice loses its sting, and corruption its poison, in the oily gentleness of his disposition. He will not hear of any thing wrong in Church or State. He will defend every abuse by which any thing is to be got, every dirty job, every act of every Minister. In an extreme case, a very good-natured man indeed may try to hang twelve honester men than himself to rise at the Bar, and forge the seal of the realm to continue his colleagues a week longer in office. He is a slave to the will of others, a coward to their prejudices, a tool of their vices. A good-natured man is no more fit to be trusted in public affairs, than a coward or a woman is to lead an army. Spleen is the soul of patriotism and of public good. Lord Castlereagh is a good-natured man, Lord Eldon is a good-natured man, Charles Fox was a good-natured man. The last instance is the most decisive. The definition of a true patriot is a good hater.
A king, who is a good-natured man, is in a fair way of being a great tyrant. A king ought to feel concern for all to whom his power extends; but a good-natured man cares only about himself. If he has a good appetite, eats and sleeps well, nothing in the universe besides can disturb him. The destruction of the lives or liberties of his subjects will not stop him in the least of his caprices, but will concoct well with his bile, and ‘good digestion wait on appetite, and health on both.’ He will send out his mandate to kill and destroy with the same indifference or satisfaction that he performs any natural function of his body. The consequences are placed beyond the reach of his imagination, or would not affect him if they were not, for he is a fool, and good-natured. A good-natured man hates more than any one else whatever thwarts his will, or contradicts his prejudices; and if he has the power to prevent it, depend upon it, he will use it without remorse and without control.
There is a lower species of this character which is what is usually understood by a well-meaning man. A well-meaning man is one who often does a great deal of mischief without any kind of malice. He means no one any harm, if it is not for his interest. He is not a knave, nor perfectly honest. He does not easily resign a good place. Mr. Vansittart is a well-meaning man.
The Irish are a good-natured people; they have many virtues, but their virtues are those of the heart, not of the head. In their passions and affections they are sincere, but they are hypocrites in understanding. If they once begin to calculate the consequences, self-interest prevails. An Irishman who trusts to his principles, and a Scotchman who yields to his impulses, are equally dangerous. The Irish have wit, genius, eloquence, imagination, affections: but they want coherence of understanding, and consequently have no standard of thought or action. Their strength of mind does not keep pace with the warmth of their feelings, or the quickness of their conceptions. Their animal spirits run away with them: their reason is a jade. There is something crude, indigested, rash, and discordant, in almost all that they do or say. They have no system, no abstract ideas. They are ‘everything by starts, and nothing long.’ They are a wild people. They hate whatever imposes a law on their understandings, or a yoke on their wills. To betray the principles they are most bound by their own professions and the expectations of others to maintain, is with them a reclamation of their original rights, and to fly in the face of their benefactors and friends, an assertion of their natural freedom of will. They want consistency and good faith. They unite fierceness with levity. In the midst of their headlong impulses, they have an under-current of selfishness and cunning, which in the end gets the better of them. Their feelings, when no longer excited by novelty or opposition, grow cold and stagnant. Their blood, if not heated by passion, turns to poison. They have a rancour in their hatred of any object they have abandoned, proportioned to the attachment they have professed to it. Their zeal, converted against itself, is furious. The late Mr. Burke was an instance of an Irish patriot and philosopher. He abused metaphysics, because he could make nothing out of them, and turned his back upon liberty, when he found he could get nothing more by her.[[59]]—See to the same purpose the winding up of the character of Judy in Miss Edgeworth’s Castle Rackrent.
T. T.
No. 28.] ON THE CHARACTER OF MILTON’S EVE [July 21, 1816.
The difference between the character of Eve in Milton and Shakspeare’s female characters is very striking, and it appears to us to be this: Milton describes Eve not only as full of love and tenderness for Adam, but as the constant object of admiration in herself. She is the idol of the poet’s imagination, and he paints her whole person with a studied profusion of charms. She is the wife, but she is still as much as ever the mistress, of Adam. She is represented, indeed, as devoted to her husband, as twining round him for support ‘as the vine curls her tendrils,’ but her own grace and beauty are never lost sight of in the picture of conjugal felicity. Adam’s attention and regard are as much turned to her as hers to him; for ‘in that first garden of their innocence,’ he had no other objects or pursuits to distract his attention; she was both his business and his pleasure. Shakspeare’s females, on the contrary, seem to exist only in their attachment to others. They are pure abstractions of the affections. Their features are not painted, nor the colour of their hair. Their hearts only are laid open. We are acquainted with Imogen, Miranda, Ophelia, or Desdemona, by what they thought and felt, but we cannot tell whether they were black, brown, or fair. But Milton’s Eve is all of ivory and gold. Shakspeare seldom tantalises the reader with a luxurious display of the personal charms of his heroines, with a curious inventory of particular beauties, except indirectly, and for some other purpose, as where Jachimo describes Imogen asleep, or the old men in the Winter’s Tale vie with each other in invidious praise of Perdita. Even in Juliet, the most voluptuous and glowing of the class of characters here spoken of, we are reminded chiefly of circumstances connected with the physiognomy of passion, as in her leaning with her cheek upon her arm, or which only convey the general impression of enthusiasm made on her lover’s brain. One thing may be said, that Shakspeare had not the same opportunities as Milton: for his women were clothed, and it cannot be denied that Milton took Eve at a considerable disadvantage in this respect. He has accordingly described her in all the loveliness of nature, tempting to sight as the fruit of the Hesperides guarded by that Dragon old, herself the fairest among the flowers of Paradise!
The figures both of Adam and Eve are very prominent in this poem. As there is little action in it, the interest is constantly kept up by the beauty and grandeur of the images. They are thus introduced:
‘Two of far nobler shape, erect and tall,
Godlike erect, with native honour clad,