Microcosmography. Earle John

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СКАЧАТЬ is another character drawn with a most incisive pathos, though less Virgilian[U] in its tone.

      The poor man, "with whom even those that are not friends for ends love not a dearness," and who, "with a great deal of virtue, obtains of himself not to hate men," is a pathetic figure, but he is something more. He is a sermon on human weakness, not drawn as some Iago might have drawn it with exultant mockery, but with the painful unflinching veracity of one who is ashamed of himself and of his kind. When one thinks how often this weakness is spoken of as if it were peculiar to the moneyed class or to the uneducated, and how many people whom one knows act and think as if poverty were a vice if not a crime, though they shrink from avowing it, so unqualified an exposure indicates a conscience of no common sensitiveness.

      Earle's wit and humour are deadly weapons, and it must be said that the trades and professions are treated with scant indulgence. He can even leave a mark like that of Junius when he has a mind. Thus the dull physician is present at "some desperate recovery, and is slandered with it, though he be guiltless"; and the attorney does not fear doomsday because "he hopes he has a trick to reverse judgment!"

But though one would not ask on behalf of impostors or scoundrels for suspension of sentence, one does wish for more than a single picture of the young man "who sins to better his understanding." The companionship of one who by his 34th year "had so much dispatched the business of life that the oldest rarely attain to that knowledge and the youngest enter not the world with more innocence,"[V] might have induced Earle to pourtray more than the weaknesses of immature manhood.

We could not, however, have missed this or the other pictures of characterless persons whether young or "having attained no proficiency by their stay in the world." Inexperience may fail to recognise them and suffer for it; or the gilding of rank and fashion may win for such persons a name in society above that which they deserve, and the moralist is bound to unmask them. These studies nevertheless are somewhat sombre;[W] and there is something much lighter and pleasanter in his presentation of some not unfamiliar phases of manners. There is the self-complacency that deals with itself like a "truant reader skipping over the harsh places"; the frank discourtesy that finds something vicious in the conventions and "circumstance" of good breeding; the patronising insolence[X] that "with much ado seems to recover your name"; the egoism of discontent that "has an accustomed tenderness not to be crossed in its fancy"; or lastly, that affectation of reticence which is as modern as anything in the book, though its illustrations look so remote. Where we meet with such a temper, Earle's is still the right method – "we must deal with such a man as we do with Hebrew letters, spell him backwards and read him!"

      Despite all this searching analysis and the biting wit which accompanies it, I cannot think the epithet cynical, which I have heard ascribed to Earle, is defensible. There is a vast difference between recognising our frailty which is a fact, and insisting that our nature is made up of nothing else, which is not a fact. The severe critic and the cynic differ chiefly in this: the first reports distressing facts, the second invents disgraceful fictions; the one distrusts, the other insults our common nature; and in doing justice to the possibilities of that nature, no one has gone further than Earle in his "contemplative man."

      Something may be said of Earle's style before this introduction is brought to an end.

I do not think it is uniformly conspicuous[Y] for quaintness, or that there is much that can be called affectation; though occasionally an excess of brevity has proved too tempting, or the desire to individualize runs away with him.

      The following passages, taken at random from the Characters, seem to contain phrases that we should be well content to use to-day if we had thought of them.

      He sighs to see what innocence he hath outlived.

      We look on old age for his sake as a more reverent thing.

      He has still something to distinguish him from a gentleman, though his doublet cost more.

      It is discourtesy in you to believe him.

      An extraordinary man in ordinary things.

      His businesses with his friends are to visit them.

      The main ambition of his life is not to be discredited.

      He preaches heresy if it comes in his way, though with a mind I must needs say very orthodox.

      These quotations have no very unfamiliar sound, nor much flavour of archaism about them. And there are many more, surprisingly free from conceits or other oddities, if we reflect that the book was written before Dryden was born, or modern prose with its precision and balance even thought of.

      There is one very distinguishing mark set on Earle's characters, the profundity of the analysis that accompanies the sketch. He lets us know not only what the grave divine or the staid man looks like, but why they are what they are, and all this without turning his sketch into an essay. This mistake Bishop Hall is inclined to make, and Butler actually makes. The author of Hudibras, it seems, would have been too fortunate had he known where his own happiness lay – to wit in that "sting" of verse, which Cowper says prose neither has nor can have.

When one compares the essay in its beginnings with the essay as we know it to-day, it is not difficult to understand the change of form in the character sketch. "The Character of a Trimmer"[Z] is a very powerful piece of writing, containing some very fine things, but Halifax could not make of it that finished piece of brevity which it would have become in Earle's hands. Latin criticism has the right word for his work – "densus."[AA] We could not pack the thinking closer if we wished. And yet if we do not care to reason a type out, there are pictures enough unspoilt by commentary.[AB] Earle has some of that delightful suddenness of illustration which Selden makes so captivating in his Table-Talk. At once we are made to see likeness or unlikeness, we hear no comment on it; since the artist desires no more moral than is to be looked for in his art.

When on the other hand Earle makes more of the reason of the thing, he[AC] is literally "swift and sententious" – he never takes the opportunity to draw us into an instructive disquisition, or to assume airs of profundity. And his passing hint as to the cause of what we see no more injures any picture he may draw than Coleridge's prose argument at the side of the page destroys the imaginative spectacle in the Ancient Mariner.

Earle, it has been said, "is not so thoroughly at home with men of all sorts and conditions as Overbury, who had probably seen far more of the world."[AD] However relatively true this may be, Earle's book [published 1628] gives evidence of an experience of men as wide as it is intimate – an experience little short of marvellous in a resident Fellow of twenty-seven, whose younger years were chiefly distinguished for "oratory, poetry, and witty fancies."[AE] (Perhaps his youth may account for some of that excessive severity in handling follies which is occasionally noticeable.) The article in the "Dictionary of National Biography" gives a somewhat different impression of Earle as an observer. "The sketches throw," it says, "the greatest light upon the social condition of the time." Now this is not possible for anyone to achieve whose vision requires "the spectacles of books"; though with such help it is doubtless possible to extend and improve on the observations of others, with human nature as a constant quantity. But to be at home with one's contemporaries and to record one's intimacy means to see with the eye as well as the mind. The slow inductive method of personal contact is indispensable; and no reasoning from first principles, no assimilating of secondhand experience, with whatever touches of genius, can be mistaken for it.

      It is not likely that the СКАЧАТЬ