Genius in Sunshine and Shadow

To recur to Charles Dickens, is it generally known that his favorite novel of "David Copperfield" partially relates to the history of his own boyhood? The story of David's employment, when a child, in washing and labelling blacking-bottles in a London cellar, was true of Dickens himself. If it were possible to read between the lines, we should not infrequently find the most effective narrative sketches little less than biography or autobiography. Thackeray and Dickens both wrote under the thin gauze of fiction. "Vivian Gray" is but a photograph of its dilettante author; and every character drawn by Charlotte Bronté is a true portrait, all being confined within so small a circle as to be easily recognizable. Smollett sat for his own personality in that of Roderick Random; while Scott drew many of his most strongly individualized characters, like that of Dominie Sampson, from people in his immediate circle.

Coleridge says of Milton: "In 'Paradise Lost,' indeed in every one of his poems, it is Milton himself whom you see. His Satan, his Adam, his Raphael, almost his Eve, are all John Milton; and it is a sense of this intense egotism that gives one the greatest pleasure in reading Milton's works." It is well known that many of Byron's61 poetical plots are almost literally his personal experiences. This was especially the case as to the "Giaour." A beautiful female slave was thrown into the sea for infidelity, and was terribly avenged by her lover, while Byron was in the East; being impressed with the dramatic character of the tragedy, he gave it expression in a poem. Carlyle says that Satan was Byron's grand exemplar, the hero of his poetry, and the model, apparently, of his conduct. In Bulwer-Lytton's "Disowned," one of his earliest and best stories, the hero, Clarence Linden, a youth of eighteen, while journeying as a pedestrian, makes the acquaintance of a free-and-easy person named Cole, – a gypsy king, – in whose camp he passes the night: all of which was an actual experience of Bulwer himself. Hans Christian Andersen gives us many of his personal experiences in his popular tale, "Only a Fiddler;" so is "Gilbert Gurney," a novel by Theodore Hook, a biography of himself as a practical joker. It will thus be seen that authors do not always draw entirely upon the imagination for incidents, characters, and plot, but that there is from first to last a large amount of actual truth in seeming fiction.

When Goldsmith was a lad of fifteen or there-about, some one gave him a guinea, with which, and a borrowed horse, he set out for a holiday trip. He got belated when returning, and, inquiring of a stranger if he would point out to him a house of entertainment, was mischievously directed to the residence of the sheriff of the county. Here he knocked lustily at the door, and sending his horse to the stable, ordered a good supper, inviting the "landlord" to drink a bottle of wine with him. The next morning, after an ample breakfast, he offered his guinea in payment, when the squire, who knew Goldsmith's family, overwhelmed him with confusion by telling him the truth. Thirty years afterwards Goldsmith availed himself of this humiliating blunder at the time he wrote that popular comedy, "She Stoops to Conquer." When Goldsmith was talking to a friend of writing a fable in which little fishes were to be introduced, Dr. Johnson, who was present, laughed rather sneeringly. "Why do you laugh?" asked Goldsmith, angrily. "If you were to write a fable of little fishes, you would make them speak like whales!" The justice of the reproof was perfectly apparent to Johnson, who was conscious of Goldsmith's superior inventiveness, lightness, and grace of composition.

Speaking of authors writing from their own personal experience recalls a name which we must not neglect to mention. Laurence Sterne, author of "Tristram Shandy," various volumes of sermons, the "Sentimental Journey," etc., was a curious compound in character, but possessed of real genius. He was quite a sentimentalist in his writings, and those who did not know him personally would accredit him with possessing a tender heart. The fact was, however, as Horace Walpole said of him, "He had too much sentiment to have any feeling." His mother, who had run in debt on account of an extravagant daughter, would have been permitted to remain indefinitely in jail, but for the kindness of the parents of her pupils. Her son Laurence heeded her not. "A dead ass was more important to him than a living mother," says Walpole. Sterne also used his wife very ill. One day he was talking to Garrick in a fine sentimental manner in praise of conjugal love and fidelity. "The husband," said Sterne, "who behaves unkindly to his wife, deserves to have his house burned over his head." Garrick's reply was only just: "If you think so, I hope your house is insured." He is known to have been engaged to a Miss Fourmantel for five years, and then to have jilted her so cruelly that she ended her days in a mad-house. Such was the great Laurence Sterne. It was poetical justice that he should repent at leisure of his subsequent hasty marriage to one whom he had known only four weeks. He twice visited the lady whom he had deceived, in the establishment where she was confined; and the character of Maria, whom he so pathetically describes, is drawn from her, showing how cheaply he could coin his pretended feelings. Contradictions in character are often ludicrous, and go to show that the author and the man are seldom one. What can be more contradictory in the nature of the same individual than Sterne whining over a dead ass and neglecting to relieve a living mother; or Prior addressing the most romantic sonnets to his Chloe, and at the same time indulging a sentimental passion for a barmaid?

Goldsmith's "Deserted Village," according to Mr. Best, an Irish clergyman, relates to the scenes in which Goldsmith was himself an actor. Auburn is a poetical name for the village of Lissoy, county of Westneath. The name of the schoolmaster was Paddy Burns. "I remember him well," says Mr. Best; "he was indeed a man severe to view. A woman called Walsey Cruse kept the ale-house. I have often been within it. The hawthorn bush was remarkably large, and stood in front of the ale-house." The author of the "Deserted Village," however, made his best contemporary "hit" with his poem of the "Traveller." He always distrusted his poetic ability, and this poem was kept on hand some years after it was completed, before he published it in 1764. It passed through several editions in the first year, and proved a golden harvest to Newbury the publisher; but Goldsmith received only twenty guineas for the manuscript.

The character of Sober, in Johnson's "Idler," is a portrait of himself; and he admitted more than once that he had his own outset in life in his mind when he wrote the Eastern story of "Gelaleddin." Is not "Tristram Shandy" a synonym for its author, Sterne? Hazlitt and many others fuse the personality of the author of the "Imaginary Conversations" with this admirable work from his pen: certainly a high compliment to Landor, if the portraiture is a likeness. Walter Savage Landor62 was a most erratic genius, a man of uncontrollable passions which led him into constant difficulties; at times he must have been partially deranged. In all his productions he exhibits high literary culture; and being born to a fortune, he was enabled to adapt himself to his most fastidious tastes, though in the closing years of his life, having lost his money, he learned the meaning of that bitter word dependence. The severest critic must accord him the genius of a poet; but his literar reputation will rest upon his elaborate prose work, "Imaginary Conversations" of literary men and statesmen, upon which he was engaged for more than ten years. He lived to the age of ninety, and found solace in his pen to the last.

CHAPTER III

As we have already remarked, authors are very much like other people, rarely coming up to the idea formed of them by enthusiastic readers. They are pretty sure to have some idiosyncrasies more or less peculiar; and who, indeed, has not? To know the true character of these individuals, we should see them in their homes rather than in their books.

Having so lately spoken of Landor, we are reminded of another literary character who in many respects resembled him. William Beckford, the English author, utterly despised literary fame, and when he wrote he could afford to do so, for he was a millionnaire. His romance of "Vathek," as an Eastern tale, was pronounced by the critics superior to "Rasselas;" and indeed "Rasselas, Prince of Abyssinia," is hardly in any sense an Eastern tale. "Johnson," says Macaulay, "not content with turning filthy savages, ignorant of their letters and gorged with raw steaks cut from living cows, into philosophers as eloquent and enlightened as himself or his friend Burke, and into ladies as accomplished as Mrs. Lennox or Mrs. Sheridan, transferred the whole domestic system of England to Egypt." Beckford read to Rogers one of his novels in which the hero was a Frenchman who was ridiculously fond of dogs, and in which his own life was clearly depicted. Even this millionnaire author was finally reduced to such necessity as obliged him to sell his private pictures for subsistence. The last which he disposed of was Bellini's portrait of the "Doge of Venice," which was bought for and hung in the National Gallery on the very day that Beckford died, in 1844.

Certainly those authors who give us their own personal experience as a basis for their sketches are no plagiarists. The late Wendell Phillips63 delighted, in his lecture on the "Lost Arts," to prove that there was nothing new under the sun; a not uncongenial task for this "silver-tongued orator," who was an iconoclast by nature. So early as the age of twenty-five he relinquished the practice of the law because he was unwilling to act under an oath to the Constitution of the United States. In one sense there is nothing new under the sun. Genius has not hesitated to borrow bravely from history and legend. The "Amphitrion" of Molière was adopted from Plautus, who had borrowed it from the Greeks, and they from the Indians. Any one reading a collection of the Arabian stories for the first time will be surprised at meeting so many which are familiar, and which he had thought to be of modern birth. La Fontaine borrowed from Petronius the "Ephesian Matron," which had been taken from Greek annals, having been previously transferred from the Arabic, where it appeared taken from the Chinese. There is no ignoring the fact that a large portion of our plots belonged originally to Eastern nations. The graceful, attractive, and patriotic story of William Tell was proven by the elder son of Haller, a century ago, to have been, in the main features, but the revival of a Danish story to be found in Saxo Grammaticus. The interesting legend of the apple was but a fable revived. The English story of Whittington and his Cat was common two thousand years ago in Persia.

When the writer of these pages visited the grand temples of Nikko, in the interior of Japan, he was told that the wonderfully preserved carvings beneath the eaves and on the inner walls, thousands of years old, were executed by one who was known as the "Left-Handed Artist," who was a dwarf, and had but partial use of the right hand. It seems, according to the local legend preserved for so many centuries, that while this artist was working at the ornamentation of the temples at Nikko he saw and fell in love with a beautiful Japanese girl resident in the city; for Nikko was then a city of half a million, though now but a straggling village. The girl would have nothing to do with the artist, on account of his deformity of person. All his attempts to win her affection were vain; she was inflexible. Finally the heart-broken artist returned to Tokio, his native place. Here be carved in wood a life-size figure of his beloved, so perfect and beautiful that the gods endowed it with life, and the sculptor lived with it as his wife, in the enjoyment of mutual love, all the rest of his days. Here, then, in Japan, we have the legend upon which the Greek story of Pygmalion and Galatea is undoubtedly founded.

As regards the subject of plagiarism in general, which is so often spoken of as connected with literary productions, it should be remembered, as Ruskin says, that all men who have sense and feeling are being constantly helped. They are taught by every person whom they meet, and enriched by everything that falls in their way. The greatest is he who has been oftenest aided.64 "Literature is full of coincidences," says Holmes, "which some love to believe plagiarisms. There are thoughts always abroad in the air, which it takes more wit to avoid than to hit upon."

It has been truthfully said that no man is quite sane; each one has a vein of folly in his composition, a view which would certainly seem to be illustrated by circumstances which are easily recalled. Take, for instance, the fact that Schiller65 could not write unless surrounded by the scent of decayed apples, with which he kept one drawer of his writing-desk well filled. Could we have a clearer instance of monomania? He also required his cup of strong coffee when he was composing, and the coffee was well "laced" with brandy. Bulwer-Lytton, in his life of Schiller, declares that when he wrote at night he drank hock wine. As an opposite and much more agreeable habit, we have that of Méhul, the French composer, and author of over forty successful operas, who could not produce a note of original music except amid the perfume of roses. His table, writing-desk, and piano were constantly covered with them; in this delicious atmosphere he produced his "Joseph in Egypt," which alone would have entitled him to undying fame.

Father Sarpi, who was Macaulay's favorite historian, best known as the author of the "History of the Council of Trent," having the idea that the atmosphere immediately about him became in a degree impregnated with the mental electricity of his brain, was accustomed to build a paper enclosure about his head and person while he was writing. "All air is predatory," he said. Salieri, the Venetian composer, prepared himself for writing by filling a capacious dish at his side with candy and bonbons, which he consumed in large quantities during the process. Sarti, the well-known composer of sacred music, was obliged to work in the dark, or thought that he was, as daylight or artificial light of any sort at such moments utterly disconcerted him. Rossini, on the contrary, seemed to have no special ideas about his surroundings when he was in a mood for composing. He sat down among his friends, laughing and talking all the while that he was creating, and framing with marvellous rapidity strains that will live for all time. The whole of "Tancredi," which first made his fame, was produced in the very midst of social life and merry companionship. He said he found inspiration in the cheerful human voices about him. As to the peculiarities we have noted in others, they must at first have been mere affectations; but such is the force of habit, that no doubt these individuals became confirmed in them and really believed their indulgence a necessity.

Carneades, the Greek philosopher, so famed for his subtle and powerful eloquence, before sitting down to write dosed himself with hellebore, – a strange resort, as it is supposed to act directly upon the liver, and only very slightly to stimulate the brain, besides being a fatal poison in large doses. It is well known that Dryden resorted to singular aids as preparatory to literary composition; being in the habit of first having himself bled and then making a meal of raw meat. The former process, he contended, rendered his brain clear, and the latter stimulated his imagination. In 1668 he held the position now filled by Tennyson, as poet-laureate of England. He was a notable instance of power in poetry, satire, and indecency, whom Cowper characterized as a lewd writer but a chaste companion. Dryden's own couplet will forcibly apply to himself: —

"O gracious God! how far have weProfaned thy heavenly gift of poesy!"

His "Essay on Dramatic Poesy," according to Dr. Johnson, entitled him to be considered the father of English criticism. His dramas, such as "Mariage à-la-Mode," "All for Love," "Don Sebastian," etc., were, by reason of their indecency, examples of perverted genius. He was sixty-six years old when he wrote his "Alexander's Feast," by far his best literary effort. While Macaulay calls him "an illustrious renegade,"66 Dr. Johnson says, "he found the English language brick and left it marble," – a most superlative and ridiculous comment to be made by so erudite a critic.

When James Francis Stephens, the English entomologist, was about to write, he mounted a horse and arranged his thoughts and sentences while at full gallop. This was a plan that Sir Walter Scott also adopted when he wrote "Marmion," galloping up and down the shore of the Firth of Forth. But he concluded that he could do better pen-work in a more rational manner, so this practice did not become habitual with him. Scott made an interesting confession when writing the third volume of "Woodstock." He declared that he had not the slightest idea how the story was to be wound up to a catastrophe. He said he could never lay out a plan for a novel and stick to it. "I only tried to make that which I wrote diverting and interesting, leaving the rest to fate." Sir David Dalrymple (afterwards Lord Hailes) was a voluminous author on historical and antiquarian subjects. His "Annals of Scotland," published in 1792, was his most important work; Dr. Johnson called it "a book which will always sell, it has such a stability of dates, such a certainty of facts, and such punctuality of citation." Lord Hailes's mode of writing was very domestic, so to speak, being performed by the parlor fire, and amid his family circle of wife and children. He was always ready to answer any appeal, however trifling, and to enter cheerfully into all current family affairs. This seems hardly reconcilable with the extreme nicety and absolute correctness of his work.

Cormontaigne, the French military engineer, wrote an elaborate treatise on fortification in the trenches and while under fire. The Duke of Wellington, when his army was at San Christoval awaiting battle with the French, wrote a complete essay on the purpose of establishing a bank at Lisbon after the English methods. Thomas Hood wrote at night, when the house was still and the children asleep. Ouida67 writes with her dogs only as companions, while they lie contentedly at her feet in the bright sunny library whose windows overlook the valley of the Arno and her well-beloved Florence. In the flower-garden before the villa her favorite Newfoundland dog, not long since dead, lies buried beneath a marble monument. Her productive literary capacity is wonderfully rapid, but the demand far exceeds it, and the prices she receives are unprecedented. She has few if any intimate friends, and no confidants, leading a life of almost perfect isolation.

Notwithstanding common-sense and experience have ever taught that the brain is capable of producing its best work when in its normal condition, still a host of writers have resorted systematically to some sort of artificial stimulant to aid them in authorship. History tells us that Æschylus, Eupolis, Cratinus, and Ennius, in the olden time, would not attempt to compose until they had become nearly intoxicated with wine. In more modern times, we know that Shadwell, De Quincey, Psalmanazar the famous literary impostor, Coleridge, Robert Hall, and Bishop Horsley stimulated themselves with fabulous doses of opium. Alfred de Musset, Burns, Edgar A. Poe, Dickens, Christopher North, and a host of others whose names will only too readily occur to the reader, were reckless as to the use of alcohol. They were both fed and consumed by stimulants. We are inclined, however, to forgive much of indiscretion in a brilliant and ardent imagination. Schiller, so lately referred to, was addicted to Rhenish wine in large quantities. Blackstone, author of "Commentaries on the Laws of England," remarkable for his clearness and purity of style, never wrote without a bottle of port by his side, which he emptied at a sitting.

It is related of Bacon that he did not drink wine when engaged in pen-craft, but he was accustomed to have sherry poured into a broad open vessel, and to inhale its fragrance with great relish. He believed that his brain thus received the stimulating influence without the narcotic effect. Sheridan could neither write nor talk until warmed by wine. If about to make a speech in the House, he would, just before rising, swallow half a tumbler of raw brandy. Burke presents a remarkable contrast; his great stimulant being hot water. The most impassioned passages of his speeches had no other physical inspiration; all the rest came from his glowing soul, which was powerful enough to vitalize his body for an oration of four hours' length. The food which sustained him on such occasions was cold mutton, the drink being hot water. Brandy and port, even claret and champagne, would have driven him wild, though they were the ordinary stimulants of his contemporaries. Burke was, like Burns, a man of an excitable temperament; but, unlike Burns, he was wise enough to avoid all dangerous alcoholic excitements, which increased the impulsive elements of his nature and diminished the action of his reason. It will be observed that even in the occasional violence of his invective, his passion is still reasoned passion, or reason penetrated by passion, so as to reach the will as well as to convince the understanding.

Addison, with his bottle of wine at each end of the long gallery at Holland House, where he walked back and forth perfecting his thoughts, will be sure to be recalled by the reader in this connection. Consciously or unconsciously he took a glass of the stimulant at each turn, until wrought up to the required point. Dr. Radcliffe, the eminent London physician and author, was often found in an over-stimulated condition. Summoned one evening to a lady patient, he found that he was too much inebriated to count her pulse, and so muttered, "Drunk! dead drunk!" and hastened homeward. The next morning, while experiencing intense mortification over the recollection, he received a note from the same patient, in which she said, she knew only too well her own condition when he called, and begged him to keep the matter secret, enclosing a hundred-pound note.

Burns was wont oftentimes to compose, as he tells us, "by the lee side of a bowl of punch, which had overset every mortal in the company except the haut-boy and the Muse."68 Of course "the pernicious expedient of stimulants," as Carlyle would say, only served to use up more rapidly his already wasted physical strength. Sometimes, however, Burns would compose walking in the open fields. His first effort was to master some pleasing air, and then he easily produced appropriate words for it. One noble trait of Burns's character should not be forgotten. Though he died in abject poverty, he did not leave a farthing of debt owed to any one. Nothing could be finer than Carlyle's exordium in his review of Lockhart's "Life of Burns: " "With our readers in general, with men of right feeling anywhere, we are not required to plead for Burns. In pitying admiration he lies enshrined in all our hearts, in a far nobler mausoleum than that one of marble; neither will his works ever as they are, pass away from the memory of men. While the Shakspeares and Miltons roll on like mighty rivers through the country of Thought, bearing fleets of traffickers and assiduous pearl-fishers on their waves, this little Valclusa Fountain will also arrest our eye; for this also is of Nature's own and most cunning workmanship, bursts from the depths of the earth, with a full gushing current, into the light of day; and often will the traveller turn aside to drink of its clear waters, and muse among its rocks and pines."

As we have seen, musical composers, like those devoted to literature, are apt to have singular fancies. Glück, who was at one time the music-teacher of Marie Antoinette, and whose operas have entitled him to a niche in the temple of fame, could compose only while under the influence of champagne, two bottles of which he would consume at a sitting. He was an eccentric individual, singing and acting the part for which he at the same time wrote the music. Handel, when he felt the inspiration of music upon him, sought the graveyard of some village church, and on the moss-grown stones laid his portfolio and wrote his notes, never trying their harmony until he had completed the entire piece. It seems strange to us, in the light of his great genius, to think what an immense glutton Handel was. We have already spoken of this, but recur to it again in this connection; for one is puzzled how to reconcile the grossness of his appetite with his æsthetic nature. He could devour more food at one dinner than any other composer in three.69 Never before was height and breadth of musical genius combined with such enormous appetite for the good things of the table; and yet his digestion was as sound as his love and need of food was portentous. Everything about this great composer was gigantesque, as became a giant. His forgetive brain was recruited by the nourishment drawn from a ravenous yet healthy stomach.