The Works of Samuel Johnson, LL.D. in Nine Volumes, Volume 03. Samuel Johnson

Чтение книги онлайн.

СКАЧАТЬ so darkened with old words and peculiarities of phrase, and so remote from common use, that Jonson boldly pronounces him to have written no language. His stanza is at once difficult and unpleasing; tiresome to the ear by its uniformity, and to the attention by its length. It was at first formed in imitation of the Italian poets, without due regard to the genius of our language. The Italians have little variety of termination, and were forced to contrive such a stanza as might admit the greatest number of similar rhymes; but our words end with so much diversity, that it is seldom convenient for us to bring more than two of the same sound together. If it be justly observed by Milton, that rhyme obliges poets to express their thoughts in improper terms, these improprieties must always be multiplied, as the difficulty of rhyme is increased by long concatenations.

      The imitators of Spenser are indeed not very rigid censors of themselves, for they seem to conclude, that when they have disfigured their lines with a few obsolete syllables, they have accomplished their design, without considering that they ought not only to admit old words, but to avoid new. The laws of imitation are broken by every word introduced since the time of Spenser, as the character of Hector is violated by quoting Aristotle in the play. It would, indeed, be difficult to exclude from a long poem all modern phrases, though it is easy to sprinkle it with gleanings of antiquity. Perhaps, however, the style of Spenser might by long labour be justly copied; but life is surely given us for higher purposes than to gather what our ancestors have wisely thrown away, and to learn what is of no value, but because it has been forgotten.

      No. 122. SATURDAY, MAY 18, 1751

        Nescio qua natale solum dulcedine captos

  Ducit. OVID, Ex Pon. Lib. i. Ep. iii. 35.

      By secret charms our native land attracts.

      Nothing is more subject to mistake and disappointment than anticipated judgment concerning the easiness or difficulty of any undertaking, whether we form our opinion from the performances of others, or from abstracted contemplation of the thing to be attempted.

      Whatever is done skilfully appears to be done with ease; and art, when it is once matured to habit, vanishes from observation. We are therefore more powerfully excited to emulation, by those who have attained the highest degree of excellence, and whom we can therefore with least reason hope to equal.

      In adjusting the probability of success by a previous consideration of the undertaking, we are equally in danger of deceiving ourselves. It is never easy, nor often possible, to comprise the series of any process with all its circumstances, incidents, and variations, in a speculative scheme. Experience soon shows us the tortuosities of imaginary rectitude, the complications of simplicity, and the asperities of smoothness. Sudden difficulties often start up from the ambushes of art, stop the career of activity, repress the gaiety of confidence, and when we imagine ourselves almost at the end of our labours, drive us back to new plans and different measures.

      There are many things which we every day see others unable to perform, and perhaps have even ourselves miscarried in attempting; and yet can hardly allow to be difficult; nor can we forbear to wonder afresh at every new failure, or to promise certainty of success to our next essay; but when we try, the same hindrances recur, the same inability is perceived, and the vexation of disappointment must again be suffered.

      Of the various kinds of speaking or writing, which serve necessity, or promote pleasure, none appears so artless or easy as simple narration; for what should make him that knows the whole order and progress of an affair unable to relate it? Yet we hourly find such as endeavour to entertain or instruct us by recitals, clouding the facts which they intend to illustrate, and losing themselves and their auditors in wilds and mazes, in digression and confusion. When we have congratulated ourselves upon a new opportunity of inquiry, and new means of information, it often happens, that without designing either deceit or concealment, without ignorance of the fact, or unwillingness to disclose it, the relator fills the ear with empty sounds, harasses the attention with fruitless impatience, and disturbs the imagination by a tumult of events, without order of time, or train of consequence.

      It is natural to believe, upon the same principle, that no writer has a more easy task than the historian. The philosopher has the works of omniscience to examine; and is therefore engaged in disquisitions, to which finite intellects are utterly unequal. The poet trusts to his invention, and is not only in danger of those inconsistencies, to which every one is exposed by departure from truth; but may be censured as well for deficiencies of matter, as for irregularity of disposition, or impropriety of ornament. But the happy historian has no other labour than of gathering what tradition pours down before him, or records treasure for his use. He has only the actions and designs of men like himself to conceive and to relate; he is not to form, but copy characters, and therefore is not blamed for the inconsistency of statesmen, the injustice of tyrants, or the cowardice of commanders. The difficulty of making variety consistent, or uniting probability with surprise, needs not to disturb him; the manners and actions of his personages are already fixed; his materials are provided and put into his hands, and he is at leisure to employ all his powers in arranging and displaying them.

      Yet, even with these advantages, very few in any age have been able to raise themselves to reputation by writing histories; and among the innumerable authors, who fill every nation with accounts of their ancestors, or undertake to transmit to futurity the events of their own time, the greater part, when fashion and novelty have ceased to recommend them, are of no other use than chronological memorials, which necessity may sometimes require to be consulted, but which fright away curiosity, and disgust delicacy.

      It is observed, that our nation, which has produced so many authors eminent for almost every other species of literary excellence, has been hitherto remarkably barren of historical genius; and so far has this defect raised prejudices against us, that some have doubted whether an Englishman can stop at that mediocrity of style, or confine his mind to that even tenour of imagination, which narrative requires.

      They who can believe that nature has so capriciously distributed understanding, have surely no claim to the honour of serious confutation. The inhabitants of the same country have opposite characters in different ages; the prevalence or neglect of any particular study can proceed only from the accidental influence of some temporary cause; and if we have failed in history, we can have failed only because history has not hitherto been diligently cultivated.

      But how is it evident, that we have not historians among us, whom we may venture to place in comparison with any that the neighbouring nations can produce? The attempt of Raleigh is deservedly celebrated for the labour of his researches, and the elegance of his style; but he has endeavoured to exert his judgment more than his genius, to select facts, rather than adorn them; and has produced an historical dissertation, but seldom risen to the majesty of history.

      The works of Clarendon deserve more regard. His diction is indeed neither exact in itself, nor suited to the purpose of history. It is the effusion of a mind crowded with ideas, and desirous of imparting them; and therefore always accumulating words, and involving one clause and sentence in another. But there is in his negligence a rude inartificial majesty, which, without the nicety of laboured elegance, swells the mind by its plenitude and diffusion. His narration is not perhaps sufficiently rapid, being stopped too frequently by particularities, which, though they might strike the author who was present at the transactions, will not equally detain the attention of posterity. But his ignorance or carelessness of the art of writing is amply compensated by his knowledge of nature and of policy; the wisdom of his maxims, the justness of his reasonings, and the variety, distinctness, and strength of his characters.

      But none of our writers can, in my opinion, justly contest the superiority of Knolles, who, in his history of the Turks, has displayed all the excellencies that narration can admit. His style, though somewhat obscured by time, and sometimes vitiated by false wit, is pure, nervous, elevated, and clear. A wonderful multiplicity of events is so artfully arranged, and so distinctly explained, that each facilitates СКАЧАТЬ