Blackwood's Edinburgh Magazine, Vol. 66 No.406, August 1849. Various

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СКАЧАТЬ Such habits are rather the result of a man's temperament, and the manner of life which circumstances have thrown him into, than of his intellectual powers. Profound metaphysicians have been very vivacious talkers, and light and humorous writers very taciturn men. Mr Talfourd finds that Godwin had no imagination, was all abstract reason, and thus accounts for his having no desire to address his fellowmen but through the press. The passage is too long to quote, and would be very tedious. We must leave him in quiet possession of his own theory of the matter.

      It was new to us, and may be to our readers, to hear that Godwin supported himself "by a shop in Skinner Street, where, under the auspices of 'Mr J. Godwin & Co.,' the prettiest and wisest books for children issued, which old-fashioned parents presented to their children, without suspecting that the graceful lessons of piety and goodness which charmed away the selfishness of infancy, were published, and sometimes revised, and now and then written, by a philosopher whom they would scarcely venture to name!" We admire the good sense which induced him to adhere to so humble an occupation, if he found it needful for his support. But what follows is not quite so admirable. He was a great borrower; or, in the phrase of Mr Talfourd, "he met the exigencies of business with the trusting simplicity which marked his course; he asked his friends for aid without scruple, considering that their means were justly the due of one who toiled in thought for their inward life, and had little time to provide for his own outward existence, and took their excuses when offered without doubt or offence." And then the Serjeant proceeds to relate, in a tone of the most touching simplicity, his own personal experience upon this matter. "The very next day after I had been honoured and delighted by an introduction to him at Lamb's chambers, I was made still more proud and happy by his appearance at my own on such an errand, which my poverty, not my will, rendered abortive. After some pleasant chat on indifferent matters, he carelessly observed that he had a little bill for £150 falling due on the morrow, which he had forgotten till that morning, and desired the loan of the necessary amount for a few weeks. At first, in eager hopes of being able thus to oblige one whom I regarded with admiration akin to awe, I began to consider whether it was possible for me to raise such a sum; but, alas! a moment's reflection sufficed to convince me that the hope was vain, and I was obliged, with much confusion, to assure my distinguished visitor how glad I should have been to serve him, but that I was only just starting as a special pleader, was obliged to write for magazines to help me on, and had not such a sum in the world. 'Oh dear!' said the philosopher, 'I thought you were a young gentleman of fortune – don't mention it, don't mention it – I shall do very well elsewhere!' And then, in the most gracious manner, reverted to our former topics, and sat in my small room for half-an-hour, as if to convince me that my want of fortune made no difference in his esteem." How very gracious! The most shameless borrower coming to raise money from a young gentleman of fortune, to meet "a little bill which he had forgotten till that morning," would hardly, on finding his mistake, have made an abrupt departure. He would have coolly beat a retreat, as the philosopher did. We never hear, by the way, that he returned "to my small room" at any other time, for half-an-hour's chat. But how very interesting it is to see the learned Serjeant, whose briefs have made him acquainted with every trick and turn of commercial craft, retaining this sweet and pristine simplicity!

      The Serjeant, however, has a style of narrative which, though on the surface it displays the most good-natured simplicity, slyly insinuates to the more intelligent reader that he sees quite as far as another, and is by no means the dupe of his own amiability. Thus, in his description of Coleridge, (which would be too long a subject to enter into minutely,) he has the following passage, (perhaps the best in the description,) which, while it seems to echo to the full the unstinted applause so common with the admirers of that singular man, gives a quiet intimation to the reader that he was not altogether so blind as some of those admirers. "If his entranced hearers often were unable to perceive the bearings of his argument – too mighty for any grasp but his own – and sometimes reaching beyond his own – they understood 'a beauty in the words, if not the words;' and a wisdom and a piety in the illustrations, even when unable to connect them with the idea which he desired to illustrate." Mr Talfourd reveals here, we suspect, the true secret of the charm which Coleridge exercised in conversation. His hearers never seemed to have carried away anything distinct or serviceable from his long discourses. They understood "a beauty in the words, if not the words;" they felt a charm like that of listening to music, and, when the voice ceased, there was perhaps as little distinct impression left, as if it had really been a beautiful symphony they had heard.

      There is only one more in this gallery of portraits before which we shall pause, and that only for a moment, to present a last specimen of the critical manner of Mr Talfourd. We are sorry the last should not be the best; and yet, as this sketch is a reprint, in an abridged form, of an essay affixed to the Literary Remains of Hazlitt, it may be considered as having received a more than usual share of the author's attention. It is thus that he analyses the mental constitution of one whom he appears to have studied and greatly admired – William Hazlitt. "He had as unquenchable a desire for truth as others have for wealth, or power, or fame: he pursued it with sturdy singleness of purpose, and enunciated it without favour or fear. But besides that love of truth, that sincerity in pursuing it, and that boldness in telling it, he had also a fervent aspiration after the beautiful, a vivid sense of pleasure, and an intense consciousness of his own individual being, which sometimes produced obstacles to the current of speculation, by which it was broken into dazzling eddies, or urged into devious windings. Acute, fervid, vigorous as his mind was, it wanted the one great central power of imagination, which brings all the other faculties into harmonious action, multiplies them into each other, makes truth visible in the forms of beauty, and substitutes intellectual vision for proof. Thus in him truth and beauty held divided empire. In him the spirit was willing but the flesh was strong, and when these contend it is not difficult to anticipate the result; 'for the power of beauty shall sooner transform honesty from what it is into a bawd, than the person of honesty shall transform beauty into its likeness.' This 'sometime paradox' was vividly exemplified in Hazlitt's personal history, his conversation, and his writings."3

      Are we to gather from this most singular combination of words, that Hazlitt had a grain too much of sensuality in his composition, which diverted him from the search after truth? The expression, "the flesh was strong," and the quotation so curiously introduced from Shakspeare, seem to point this way. And then, again, are we to understand that this too much of sensuality was owing to a want of imagination? – that central power of imagination which is here described in a manner that no system of metaphysics we have studied enables us in the least to comprehend. We know something of Schelling's "intellectual intuition" transcending the ordinary scope of reason. Is this "intellectual vision, which the imagination substitutes for proof," of the same family? But indeed it would be idle insincerity to ask such questions. Sergeant Talfourd knows no more than we do what it means. The simple truth is, that here, as too frequently elsewhere, he aims at a certain subtlety of thought, and falls unfortunately upon no thought whatever – upon mere confusion of thought, which he attempts to hide by a quantity of somewhat faded phrase and rhetorical diction.

      If we refer to the original essay itself, we shall not be aiding ourselves or Mr Talfourd. The statement is fuller, and the confusion greater. In one point it relieves us – it relieves us entirely from the necessity of too deeply pondering the philosophic import of any phraseology our critic may adopt, for the phrase is changed merely to please the ear; and what at first has the air of definition proves to be merely a poetic colouring. He thus commences his essay: "As an author, Mr Hazlitt may be contemplated principally in three aspects – as a moral and political reasoner, as an observer of character and manners, and as a critic in literature and painting. It is in the first character only that he should be followed with caution." In the two others he is, of course, to be followed implicitly. Why he was not equally perfect as a moral and political reasoner, Mr Talfourd proceeds to explain. Mr Hazlitt had "a passionate desire for truth," and also "earnest aspirations for the beautiful." Now, continues our critic, "the vivid sense of beauty may, indeed, have fit home in the breast of the searcher after truth, but then he must also be endowed with the highest of all human faculties – the great mediatory and interfusing power of imagination, which presides supreme over the mind, brings СКАЧАТЬ