Boswell the Biographer. George Mallory

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СКАЧАТЬ it is remarkable that a man should proclaim it to the world as Boswell did. The common ideal of an artist supposes that his work should be, in the first place, the expression of his own personality; an expression because to him it is necessary to reproduce in some form what he sees and feels: it is for himself and himself alone, and the world without is allowed to share, partly that the artist may earn a living, partly perhaps that he may have some justification for his self-absorption; and in greater part no doubt, in some cases more than in others, but in every case a little, that he may win the applause that we all like at bottom. None of these reasons, and, least of all, the desire for fame, is held to be a motive for producing art. There may be various impulses with varying circumstances; but there can be but one motive.

      The ambition which Boswell had, and which he expressed so freely, is peculiar in some ways for the end desired, but it is not essentially different from that of other artists.

He who publishes a book, affecting not to be an 'authour',⁹ and professing an indifference for literary fame, may possibly impose upon many people such an idea of his consequence as he wishes may be received. For my part, I should be proud to be known as an authour and I have an ardent ambition for literary fame; for of all possessions I should imagine literary fame to be the most valuable. A man who has been able to furnish a book which has been approved by the world, has established himself as a respectable character in distant society, without any danger of having that character lessened by the observation of his weaknesses. To preserve an uniform dignity among those who see us every day is hardly possible; and to aim at it must put us under the fetters of a perpetual LITERARY AMBITION restraint. The authour of an approved book may allow his natural disposition an easy play, and yet indulge the pride of superiour genius when he considers that, by those who know him only as an authour, he never ceases to be respected. Such an authour, when in his hours of discontent, may have the consolation to think that his writings are at that very time giving pleasure to numbers; and such an authour may cherish the hope of being remembered after death, which has been a great object to the noblest minds in all ages.

The nature of the desire for fame which he had is revealed to us by Boswell in this curious passage. It does not compromise his character as an artist.¹⁰ He wished to obtain the public esteem, to have the reputation of an ingenious and worthy man; and literature was considered as a means to this end. But we cannot argue that he must therefore have pandered to the public taste: he wrote, as he proclaimed at a later date in a contribution to a periodical, 'from the primary motive of pleasing himself.' This ambition is not in its nature an attitude towards art but towards the world. In all his writings, even in the frivolous publications of his youth, Boswell has expressed his own person in a peculiar degree. We must not suppose, when we see an eagerness for literary fame, which, from the frankness of his expression, may appear extravagant, that he lacked a literary conscience, for he had an excellent one; nor indeed that it mattered at all to him whether opinion in general should care about his book, except in so far as it approved of him, of the real Boswell, which it could not but find there.

      Boswell's ideal of the literary man's position is well expressed in one of the letters to Temple:

      Temple, I wish to be at last an uniform, pretty man. I am astonishingly so already, but I wish to be a man who deserves Miss B. … I am always for fixing some period for my perfection as far as possible. Let it be when my account of Corsica is published; I shall then have a character which I must support. I will swear, like an ancient disciple of Pythagoras, to observe silence; I will be grave and reserved, though cheerful and communicative of what is verum atque decens. One great fault of mine is talking at random; I will guard against it.

      It is amusing to think of Boswell in this rôle. Already we may see the great contest in his life between natural candour and commonplace ambition—the charm of the 'Tour to Corsica' was the charm of candour, and it was dangerous to dreams of future greatness in the sphere of public affairs. Boswell understood that to gain respect he must be more serious. But this he never was able to be; it was his nature to be extravagant. He had a mind which in some respects was wholly unconventional, and though he tried sometimes, he could never entirely repress his BUFFOONERY feelings: the consequence was that though there were many things about which he cared very much, it was never possible to take him quite seriously; if a man plays the buffoon sometimes we are in danger of being fooled if we give him credit for being in earnest; and so, if we are to preserve our amour propre, which is what everybody wants to do, we must laugh at a buffoon whatever he does.

A most notable piece of Boswell's buffoonery was in connection with the Shakespeare Jubilee at Stratford-on-Avon in 1769. He attended this festival dressed as an armed Corsican chief. This perhaps was not particularly odd; the form of rejoicing which the company indulged in was a 'Mask.' It is dangerous even so, and hardly decent, to blow the personal trumpet so loudly. Boswell, however, was not content merely with the public advertisement of his connexion with Corsica; he wrote to the London Magazine¹¹ an elaborate unsigned account of himself and his costume: it was entitled 'Account of the Armed Corsican Chief at the Masquerade at Shakespeare's Jubilee, with a fine whole-length portrait of James Boswell, Esq., in the dress of an armed Corsican chief, as he appeared at the Jubilee Mask.' There is no need to give here the text of this document: it has been quoted at length a number of times, and it suffices to say that there can be no possible doubt that Boswell wrote it and that he wrote it to exhibit himself in a favourable light. The incident is characteristic of Boswell. It is not the mad whim that may occur once in a lifetime, the event which stands as it were by itself apart from the man; it is not an experiment miscarried, that has taken him away from his usual self and so must remain unexplained or be put to the long account of genius: rather it is the sort of oddity that we come to expect of Boswell.

      Frolics of this kind naturally deprived Boswell of the respect which he desired for himself as a man of letters. The 'Tour to Corsica' was an admirable beginning to a literary career; he had then the chance of founding the reputation he wanted as a person of weight, a man whose judgment must be accounted of some importance by the world at large. His writings about Corsica had been widely read and his views had found general sympathy. Moreover the popular poetess, Mrs. Barbauld, had paid homage in verse to his fame as an explorer. But by such behaviour as this at Stratford these hopes were frustrated. And to him, though perhaps not to us, this was the tragedy of his life.

1: Samuel Johnson, by Walter Raleigh, 1907.

2: This remark we may suppose was deliberately misinterpreted by some of Boswell's contemporaries and he finds it necessary to introduce a defence of it: 'I am willing to believe that I meant this as light pleasantry to soothe and conciliate him, and not as humiliating abasement at the expense of my country.' It was of course an apology for coming from Scotland, but an absurd apology of which he saw the absurdity, as though a man were to apologise for being six feet high.

3: London Magazine, vol. li., p. 359.

4: In August 1763.

5: Life of Johnson, iii., 331.

6: Tour to Corsica, pp. 320–1.

7: Private Correspondence of David Hume, 1820.

8: It is an interesting fact that it was translated СКАЧАТЬ