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garret become precious. Every trivial fact in his private biography becomes an illustration of this new principle, revisits the day, and delights all men by its piquancy and new charm. Men say, Where did he get this? and think there was something divine in his life. But no; they have myriads of facts just as good, would they only get a lamp to ransack their attics withal. We are all wise. The difference between persons is not in wisdom, but in art. I knew, in an academical club, a person who always deferred to me, who, seeing my whim for writing, fancied that my experiences had somewhat superior; whilst I saw that his experiences were as good as mine. Give them to me, and I would make the same use of them. He held the old; he holds the new ; I had the habit of tacking together the old and the new, which he did not use to exercise. This may hold in the great examples. Perhaps if we should meet Shakspeare, we should not be conscious of any steep inferiority; no ; but of a great equality,+only that he possessed a strange skill of using, of classifying his facts, which we lacked. For, notwithstanding our utter incapacity to produce any thing like Hamlet and Othello, see the perfect reception this wit, and immense
knowledge of life, and liquid eloquence, find in us all.
If you gather apples in the sunshine, or make hay, or hoe corn, and then retire within doors, and shut your eyes, and press them with your hand, you shall still see apples hanging in the bright light, with boughs and leaves thereto, or the tasselled grass, or the corn-flags; and this for five or six hours afterwards. There lie the impressions on the retentive organ, though you knew it not. So lies the whole series of natural images with which your life has made you acquainted in your memory, though you know it not; and a thrill of passion flashes light on their dark chamber, and the active power seizes instantly the fit image, as the word of its momentary thought.
It is long ere we discover how rich we are. Our history, we are sure, is quite tame. We have nothing to write, nothing to infer. But our wiser years still run back to the despised recollections of childhood, and always we are fishing up some wonderful article out of that pond; until, by and by, we begin to suspect that the biography of the one foolish person we know is, in reality, nothing less than the miniature paraphrase of the hundred volumes of the Universal History.
In the intellect constructive, which we popularly designate by the word Genius, we observe the same balance of two elements as in intellect receptive. The constructive intellect produces thoughts, sentences, poems, plans, designs, systems. It is the generation of the mind, the marriage of thought with nature. To genius must always go two gifts, the thought and the publication. The first is revelation, always a miracle, which no frequency of occurrence or incessant study can ever familiarise, but which must always leave the inquirer stupid with wonder. It is the advent of truth into the world; a form of thought now for the first time bursting into the universe; a child of the old eternal soul; a piece of genuine and immeasurable greatness. It seems, for the time, to inherit all that has yet existed, and to dictate to the unborn. It affects every thought of man, and goes to fashion every institution. But to make it available, it needs a vehicle or art by which it is conveyed to men. To be communicable, it must become picture or sensible object. We must learn the language of facts. The most wonderful inspirations die with their subject, if he has no hand to paint them to the senses. The ray of light passes invisible through space, and only when it falls
on an object is it seen. When the spiritual energy is directed on something outward, then is it a thought. The relation between it and you first makes you, the value of you, apparent to me. The rich inventive genius of the painter must be smothered and lost for want of the power of drawing; and in our happy hours we should be inexhaustible poets, if once we could break through the silence into adequate rhyme. As all men have some access to primary truth, so all have some art or power of communication in their head; but only in the artist does it descend into the hand. There is an inequality, whose laws we do not yet know, between two men and between two moments of the same man, in respect to this faculty. In common hours we have the same facts as in the uncommon or inspired; but they do not sit for their portraits, they are not detached, but lie in a web. The thought of genius is spontaneous; but the power of picture or expression, in the most enriched and flowing nature, implies a mixture of will, a certain control over the spontaneous states, without which no production is possible. It is a conversion of all nature into the rhetoric of thought, under the eye of judgment, with a strenuous exercise of choice. And yet the imaginative vocabulary seems to be spontaneous also. It does not flow from experience only or mainly, but from a richer source. Not by any conscious imitation of particular forms are the grand strokes of the painter executed; but by repairing to the fountain-head of all forms in his mind. Who is the first drawingmaster ? Without instruction we know very well the ideal of the human form. A child knows if an arm or a leg be distorted in a picture, if the attitude be natural, or grand, or mean, though he has never received any instruction in drawing, or heard any conversation on the subject, nor can himself draw with correctness a single feature. A good form strikes all eyes pleasantly long before they have any science on the subject; and a beautiful face sets twenty hearts in palpitation prior to all consideration of the mechanical proportions of the features and head. We may owe to dreams some light on the fountain of this skill; for as soon as we let our will go, and let the unconscious states ensue, see what cunning draughtsmen we are We entertain ourselves with wonderful forms of men, of women, of animals, of gardens, of woods, and of monsters; and the mystic pencil wherewith we then draw has no awkwardness or inexperience, no meagreness or poverty; it can design well and group well; its