Impressions of Theophrastus Such

It is a commonplace that words, writings, measures, and performances in general, have qualities assigned them not by a direct judgment on the performances themselves, but by a presumption of what they are likely to be, considering who is the performer. We all notice in our neighbours this reference to names as guides in criticism, and all furnish illustrations of it in our own practice; for, check ourselves as we will, the first impression from any sort of work must depend on a previous attitude of mind, and this will constantly be determined by the influences of a name. But that our prior confidence or want of confidence in given names is made up of judgments just as hollow as the consequent praise or blame they are taken to warrant, is less commonly perceived, though there is a conspicuous indication of it in the surprise or disappointment often manifested in the disclosure of an authorship about which everybody has been making wrong guesses. No doubt if it had been discovered who wrote the 'Vestiges,' many an ingenious structure of probabilities would have been spoiled, and some disgust might have been felt for a real author who made comparatively so shabby an appearance of likelihood. It is this foolish trust in prepossessions, founded on spurious evidence, which makes a medium of encouragement for those who, happening to have the ear of the public, give other people's ideas the advantage of appearing under their own well-received name, while any remonstrance from the real producer becomes an each person who has paid complimentary tributes in the wrong place.

Hardly any kind of false reasoning is more ludicrous than this on the probabilities of origination. It would be amusing to catechise the guessers as to their exact reasons for thinking their guess "likely:" why Hoopoe of John's has fixed on Toucan of Magdalen; why Shrike attributes its peculiar style to Buzzard, who has not hitherto been known as a writer; why the fair Columba thinks it must belong to the reverend Merula; and why they are all alike disturbed in their previous judgment of its value by finding that it really came from Skunk, whom they had either not thought of at all, or thought of as belonging to a species excluded by the nature of the case. Clearly they were all wrong in their notion of the specific conditions, which lay unexpectedly in the small Skunk, and in him alone—in spite of his education nobody knows where, in spite of somebody's knowing his uncles and cousins, and in spite of nobody's knowing that he was cleverer than they thought him.

Such guesses remind one of a fabulist's imaginary council of animals assembled to consider what sort of creature had constructed a honeycomb found and much tasted by Bruin and other epicures. The speakers all started from the probability that the maker was a bird, because this was the quarter from which a wondrous nest might be expected; for the animals at that time, knowing little of their own history, would have rejected as inconceivable the notion that a nest could be made by a fish; and as to the insects, they were not willingly received in society and their ways were little known. Several complimentary presumptions were expressed that the honeycomb was due to one or the other admired and popular bird, and there was much fluttering on the part of the Nightingale and Swallow, neither of whom gave a positive denial, their confusion perhaps extending to their sense of identity; but the Owl hissed at this folly, arguing from his particular knowledge that the animal which produced honey must be the Musk-rat, the wondrous nature of whose secretions required no proof; and, in the powerful logical procedure of the Owl, from musk to honey was but a step. Some disturbance arose hereupon, for the Musk-rat began to make himself obtrusive, believing in the Owl's opinion of his powers, and feeling that he could have produced the honey if he had thought of it; until an experimental Butcher-bird proposed to anatomise him as a help to decision. The hubbub increased, the opponents of the Musk-rat inquiring who his ancestors were; until a diversion was created by an able discourse of the Macaw on structures generally, which he classified so as to include the honeycomb, entering into so much admirable exposition that there was a prevalent sense of the honeycomb having probably been produced by one who understood it so well. But Bruin, who had probably eaten too much to listen with edification, grumbled in his low kind of language, that "Fine words butter no parsnips," by which he meant to say that there was no new honey forthcoming.

Perhaps the audience generally was beginning to tire, when the Fox entered with his snout dreadfully swollen, and reported that the beneficent originator in question was the Wasp, which he had found much smeared with undoubted honey, having applied his nose to it—whence indeed the able insect, perhaps justifiably irritated at what might seem a sign of scepticism, had stung him with some severity, an infliction Reynard could hardly regret, since the swelling of a snout normally so delicate would corroborate his statement and satisfy the assembly that he had really found the honey-creating genius.

The Fox's admitted acuteness, combined with the visible swelling, were taken as undeniable evidence, and the revelation undoubtedly met a general desire for information on a point of interest. Nevertheless, there was a murmur the reverse of delighted, and the feelings of some eminent animals were too strong for them: the Orang-outang's jaw dropped so as seriously to impair the vigour of his expression, the edifying Pelican screamed and flapped her wings, the Owl hissed again, the Macaw became loudly incoherent, and the Gibbon gave his hysterical laugh; while the Hyaena, after indulging in a more splenetic guffaw, agitated the question whether it would not be better to hush up the whole affair, instead of giving public recognition to an insect whose produce, it was now plain, had been much overestimated. But this narrow-spirited motion was negatived by the sweet-toothed majority. A complimentary deputation to the Wasp was resolved on, and there was a confident hope that this diplomatic measure would tell on the production of honey.

XII.
"SO YOUNG!"

Ganymede was once a girlishly handsome precocious youth. That one cannot for any considerable number of years go on being youthful, girlishly handsome, and precocious, seems on consideration to be a statement as worthy of credit as the famous syllogistic conclusion, "Socrates was mortal." But many circumstances have conspired to keep up in Ganymede the illusion that he is surprisingly young. He was the last born of his family, and from his earliest memory was accustomed to be commended as such to the care of his elder brothers and sisters: he heard his mother speak of him as her youngest darling with a loving pathos in her tone, which naturally suffused his own view of himself, and gave him the habitual consciousness of being at once very young and very interesting. Then, the disclosure of his tender years was a constant matter of astonishment to strangers who had had proof of his precocious talents, and the astonishment extended to what is called the world at large when he produced 'A Comparative Estimate of European Nations' before he was well out of his teens. All comers, on a first interview, told him that he was marvellously young, and some repeated the statement each time they saw him; all critics who wrote about him called attention to the same ground for wonder: his deficiencies and excesses were alike to be accounted for by the flattering fact of his youth, and his youth was the golden background which set off his many-hued endowments. Here was already enough to establish a strong association between his sense of identity and his sense of being unusually young. But after this he devised and founded an ingenious organisation for consolidating the literary interests of all the four continents (subsequently including Australasia and Polynesia), he himself presiding in the central office, which thus became a new theatre for the constantly repeated situation of an astonished stranger in the presence of a boldly scheming administrator found to be remarkably young. If we imagine with due charity the effect on Ganymede, we shall think it greatly to his credit that he continued to feel the necessity of being something more than young, and did not sink by rapid degrees into a parallel of that melancholy object, a superannuated youthful phenomenon. Happily he had enough of valid, active faculty to save him from that tragic fate. He had not exhausted his fountain of eloquent opinion in his 'Comparative Estimate,' so as to feel himself, like some other juvenile celebrities, the sad survivor of his own manifest destiny, or like one who has risen too early in the morning, and finds all the solid day turned into a fatigued afternoon. He has continued to be productive both of schemes and writings, being perhaps helped by the fact that his 'Comparative Estimate' did not greatly affect the currents of European thought, and left him with the stimulating hope that he had not done his best, but might yet produce what would make his youth more surprising than ever.

I saw something of him through his Antino|s period, the time of rich chesnut locks, parted not by a visible white line, but by a shadowed furrow from which they fell in massive ripples to right and left. In these slim days he looked the younger for being rather below the middle size, and though at last one perceived him contracting an indefinable air of self-consciousness, a slight exaggeration of the facial movements, the attitudes, the little tricks, and the romance in shirt-collars, which must be expected from one who, in spite of his knowledge, was so exceedingly young, it was impossible to say that he was making any great mistake about himself. He was only undergoing one form of a common moral disease: being strongly mirrored for himself in the remark of others, he was getting to see his real characteristics as a dramatic part, a type to which his doings were always in correspondence. Owing to my absence on travel and to other causes I had lost sight of him for several years, but such a separation between two who have not missed each other seems in this busy century only a pleasant reason, when they happen to meet again in some old accustomed haunt, for the one who has stayed at home to be more communicative about himself than he can well be to those who have all along been in his neighbourhood. He had married in the interval, and as if to keep up his surprising youthfulness in all relations, he had taken a wife considerably older than himself. It would probably have seemed to him a disturbing inversion of the natural order that any one very near to him should have been younger than he, except his own children who, however young, would not necessarily hinder the normal surprise at the youthfulness of their father. And if my glance had revealed my impression on first seeing him again, he might have received a rather disagreeable shock, which was far from my intention. My mind, having retained a very exact image of his former appearance, took note of unmistakeable changes such as a painter would certainly not have made by way of flattering his subject. He had lost his slimness, and that curved solidity which might have adorned a taller man was a rather sarcastic threat to his short figure. The English branch of the Teutonic race does not produce many fat youths, and I have even heard an American lady say that she was much "disappointed" at the moderate number and size of our fat men, considering their reputation in the United States; hence a stranger would now have been apt to remark that Ganymede was unusually plump for a distinguished writer, rather than unusually young. But how was he to know this? Many long-standing prepossessions are as hard to be corrected as a long-standing mispronunciation, against which the direct experience of eye and ear is often powerless. And I could perceive that Ganymede's inwrought sense of his surprising youthfulness had been stronger than the superficial reckoning of his years and the merely optical phenomena of the looking-glass. He now held a post under Government, and not only saw, like most subordinate functionaries, how ill everything was managed, but also what were the changes that a high constructive ability would dictate; and in mentioning to me his own speeches and other efforts towards propagating reformatory views in his department, he concluded by changing his tone to a sentimental head voice and saying—

"But I am so young; people object to any prominence on my part; I can only get myself heard anonymously, and when some attention has been drawn the name is sure to creep out. The writer is known to be young, and things are none the forwarder."

"Well," said I, "youth seems the only drawback that is sure to diminish. You and I have seven years less of it than when we last met."

"Ah?" returned Ganymede, as lightly as possible, at the same time casting an observant glance over me, as if he were marking the effect of seven years on a person who had probably begun life with an old look, and even as an infant had given his countenance to that significant doctrine, the transmigration of ancient souls into modern bodies.

I left him on that occasion without any melancholy forecast that his illusion would be suddenly or painfully broken up. I saw that he was well victualled and defended against a ten years' siege from ruthless facts; and in the course of time observation convinced me that his resistance received considerable aid from without. Each of his written productions, as it came out, was still commented on as the work of a very young man. One critic, finding that he wanted solidity, charitably referred to his youth as an excuse. Another, dazzled by his brilliancy, seemed to regard his youth as so wondrous that all other authors appeared decrepit by comparison, and their style such as might be looked for from gentlemen of the old school. Able pens (according to a familiar metaphor) appeared to shake their heads good-humouredly, implying that Ganymede's crudities were pardonable in one so exceedingly young. Such unanimity amid diversity, which a distant posterity might take for evidence that on the point of age at least there could have been no mistake, was not really more difficult to account for than the prevalence of cotton in our fabrics. Ganymede had been first introduced into the writing world as remarkably young, and it was no exceptional consequence that the first deposit of information about him held its ground against facts which, however open to observation, were not necessarily thought of. It is not so easy, with our rates and taxes and need for economy in all directions, to cast away an epithet or remark that turns up cheaply, and to go in expensive search after more genuine substitutes. There is high Homeric precedent for keeping fast hold of an epithet under all changes of circumstance, and so the precocious author of the 'Comparative Estimate' heard the echoes repeating "Young Ganymede" when an illiterate beholder at a railway station would have given him forty years at least. Besides, important elders, sachems of the clubs and public meetings, had a genuine opinion of him as young enough to be checked for speech on subjects which they had spoken mistakenly about when he was in his cradle; and then, the midway parting of his crisp hair, not common among English committee-men, formed a presumption against the ripeness of his judgment which nothing but a speedy baldness could have removed.

It is but fair to mention all these outward confirmations of Ganymede's illusion, which shows no signs of leaving him. It is true that he no longer hears expressions of surprise at his youthfulness, on a first introduction to an admiring reader; but this sort of external evidence has become an unnecessary crutch to his habitual inward persuasion. His manners, his costume, his suppositions of the impression he makes on others, have all their former correspondence with the dramatic part of the young genius. As to the incongruity of his contour and other little accidents of physique, he is probably no more aware that they will affect others as incongruities than Armida is conscious how much her rouge provokes our notice of her wrinkles, and causes us to mention sarcastically that motherly age which we should otherwise regard with affectionate reverence.

But let us be just enough to admit that there may be old-young coxcombs as well as old-young coquettes.

XIII.
HOW WE COME TO GIVE OURSELVES FALSE TESTIMONIALS, AND BELIEVE IN THEM

It is my way when I observe any instance of folly, any queer habit, any absurd illusion, straightway to look for something of the same type in myself, feeling sure that amid all differences there will be a certain correspondence; just as there is more or less correspondence in the natural history even of continents widely apart, and of islands in opposite zones. No doubt men's minds differ in what we may call their climate or share of solar energy, and a feeling or tendency which is comparable to a panther in one may have no more imposing aspect than that of a weasel in another: some are like a tropical habitat in which the very ferns cast a mighty shadow, and the grasses are a dry ocean in which a hunter may be submerged; others like the chilly latitudes in which your forest-tree, fit elsewhere to prop a mine, is a pretty miniature suitable for fancy potting. The eccentric man might be typified by the Australian fauna, refuting half our judicious assumptions of what nature allows. Still, whether fate commanded us to thatch our persons among the Eskimos or to choose the latest thing in tattooing among the Polynesian isles, our precious guide Comparison would teach us in the first place by likeness, and our clue to further knowledge would be resemblance to what we already know. Hence, having a keen interest in the natural history of my inward self, I pursue this plan I have mentioned of using my observation as a clue or lantern by which I detect small herbage or lurking life; or I take my neighbour in his least becoming tricks or efforts as an opportunity for luminous deduction concerning the figure the human genus makes in the specimen which I myself furnish.

Introspection which starts with the purpose of finding out one's own absurdities is not likely to be very mischievous, yet of course it is not free from dangers any more than breathing is, or the other functions that keep us alive and active. To judge of others by oneself is in its most innocent meaning the briefest expression for our only method of knowing mankind; yet, we perceive, it has come to mean in many cases either the vulgar mistake which reduces every man's value to the very low figure at which the valuer himself happens to stand; or else, the amiable illusion of the higher nature misled by a too generous construction of the lower. One cannot give a recipe for wise judgment: it resembles appropriate muscular action, which is attained by the myriad lessons in nicety of balance and of aim that only practice can give. The danger of the inverse procedure, judging of self by what one observes in others, if it is carried on with much impartiality and keenness of discernment, is that it has a laming effect, enfeebling the energies of indignation and scorn, which are the proper scourges of wrong-doing and meanness, and which should continually feed the wholesome restraining power of public opinion. I respect the horsewhip when applied to the back of Cruelty, and think that he who applies it is a more perfect human being because his outleap of indignation is not checked by a too curious reflection on the nature of guilt—a more perfect human being because he more completely incorporates the best social life of the race, which can never be constituted by ideas that nullify action. This is the essence of Dante's sentiment (it is painful to think that he applies it very cruelly)—

"E cortesia fy, lui esser villano"¹—

and it is undeniable that a too intense consciousness of one's kinship with all frailties and vices undermines the active heroism which battles against wrong.

But certainly nature has taken care that this danger should not at present be very threatening. One could not fairly describe the generality of one's neighbours as too lucidly aware of manifesting in their own persons the weaknesses which they observe in the rest of her Majesty's subjects; on the contrary, a hasty conclusion as to schemes of Providence might lead to the supposition that one man was intended to correct another by being most intolerant of the ugly quality or trick which he himself possesses. Doubtless philosophers will be able to explain how it must necessarily be so, but pending the full extension of the ` priori method, which will show that only blockheads could expect anything to be otherwise, it does seem surprising that Heloisa should be disgusted at Laura's attempts to disguise her age, attempts which she recognises so thoroughly because they enter into her own practice; that Semper, who often responds at public dinners and proposes resolutions on platforms, though he has a trying gestation of every speech and a bad time for himself and others at every delivery, should yet remark pitilessly on the folly of precisely the same course of action in Ubique; that Aliquis, who lets no attack on himself pass unnoticed, and for every handful of gravel against his windows sends a stone in reply, should deplore the ill-advised retorts of Quispiam, who does not perceive that to show oneself angry with an adversary is to gratify him. To be unaware of our own little tricks of manner or our own mental blemishes and excesses is a comprehensible unconsciousness; the puzzling fact is that people should apparently take no account of their deliberate actions, and should expect them to be equally ignored by others. It is an inversion of the accepted order: there it is the phrases that are official and the conduct or privately manifested sentiment that is taken to be real; here it seems that the practice is taken to be official and entirely nullified by the verbal representation which contradicts it. The thief making a vow to heaven of full restitution and whispering some reservations, expecting to cheat Omniscience by an "aside," is hardly more ludicrous than the many ladies and gentlemen who have more belief, and expect others to have it, in their own statement about their habitual doings than in the contradictory fact which is patent in the daylight. One reason of the absurdity is that we are led by a tradition about ourselves, so that long after a man has practically departed from a rule or principle, he continues innocently to state it as a true description of his practice—just as he has a long tradition that he is not an old gentleman, and is startled when he is seventy at overhearing himself called by an epithet which he has only applied to others.

"A person with your tendency of constitution should take as little sugar as possible," said Pilulus to Bovis somewhere in the darker decades of this century. "It has made a great difference to Avis since he took my advice in that matter: he used to consume half a pound a-day."

"God bless me!" cries Bovis. "I take very little sugar myself."

"Twenty-six large lumps every day of your life, Mr Bovis," says his wife.

"No such thing!" exclaims Bovis.

"You drop them into your tea, coffee, and whisky yourself, my dear, and I count them."

"Nonsense!" laughs Bovis, turning to Pilulus, that they may exchange a glance of mutual amusement at a woman's inaccuracy.

But she happened to be right. Bovis had never said inwardly that he would take a large allowance of sugar, and he had the tradition about himself that he was a man of the most moderate habits; hence, with this conviction, he was naturally disgusted at the saccharine excesses of Avis.

I have sometimes thought that this facility of men in believing that they are still what they once meant to be—this undisturbed appropriation of a traditional character which is often but a melancholy relic of early resolutions, like the worn and soiled testimonial to soberness and honesty carried in the pocket of a tippler whom the need of a dram has driven into peculation—may sometimes diminish the turpitude of what seems a flat, barefaced falsehood. It is notorious that a man may go on uttering false assertions about his own acts till he at last believes in them: is it not possible that sometimes in the very first utterance there may be a shade of creed-reciting belief, a reproduction of a traditional self which is clung to against all evidence? There is no knowing all the disguises of the lying serpent.

When we come to examine in detail what is the sane mind in the sane body, the final test of completeness seems to be a security of distinction between what we have professed and what we have done; what we have aimed at and what we have achieved; what we have invented and what we have witnessed or had evidenced to us; what we think and feel in the present and what we thought and felt in the past.

I know that there is a common prejudice which regards the habitual confusion of now and then, of it was and it is, of it seemed so and I should like it to be so, as a mark of high imaginative endowment, while the power of precise statement and description is rated lower, as the attitude of an everyday prosaic mind. High imagination is often assigned or claimed as if it were a ready activity in fabricating extravagances such as are presented by fevered dreams, or as if its possessors were in that state of inability to give credible testimony which would warrant their exclusion from the class of acceptable witnesses in a court of justice; so that a creative genius might fairly be subjected to the disability which some laws have stamped on dicers, slaves, and other classes whose position was held perverting to their sense of social responsibility.

This endowment of mental confusion is often boasted of by persons whose imaginativeness would not otherwise be known, unless it were by the slow process of detecting that their descriptions and narratives were not to be trusted. Callista is always ready to testify of herself that she is an imaginative person, and sometimes adds in illustration, that if she had taken a walk and seen an old heap of stones on her way, the account she would give on returning would include many pleasing particulars of her own invention, transforming the simple heap into an interesting castellated ruin. This creative freedom is all very well in the right place, but before I can grant it to be a sign of unusual mental power, I must inquire whether, on being requested to give a precise description of what she saw, she would be able to cast aside her arbitrary combinations and recover the objects she really perceived so as to make them recognisable by another person who passed the same way. Otherwise her glorifying imagination is not an addition to the fundamental power of strong, discerning perception, but a cheaper substitute. And, in fact, I find on listening to Callista's conversation, that she has a very lax conception even of common objects, and an equally lax memory of events. It seems of no consequence to her whether she shall say that a stone is overgrown with moss or with lichen, that a building is of sandstone or of granite, that Meliboeus once forgot to put on his cravat or that he always appears without it; that everybody says so, or that one stock-broker's wife said so yesterday; that Philemon praised Euphemia up to the skies, or that he denied knowing any particular evil of her. She is one of those respectable witnesses who would testify to the exact moment of an apparition, because any desirable moment will be as exact as another to her remembrance; or who would be the most worthy to witness the action of spirits on slates and tables because the action of limbs would not probably arrest her attention. She would describe the surprising phenomena exhibited by the powerful Medium with the same freedom that she vaunted in relation to the old heap of stones. Her supposed imaginativeness is simply a very usual lack of discriminating perception, accompanied with a less usual activity of misrepresentation, which, if it had been a little more intense, or had been stimulated by circumstance, might have made her a profuse writer unchecked by the troublesome need of veracity.

These characteristics are the very opposite of such as yield a fine imagination, which is always based on a keen vision, a keen consciousness of what is, and carries the store of definite knowledge as material for the construction of its inward visions. Witness Dante, who is at once the most precise and homely in his reproduction of actual objects, and the most soaringly at large in his imaginative combinations. On a much lower level we distinguish the hyperbole and rapid development in descriptions of persons and events which are lit up by humorous intention in the speaker—we distinguish this charming play of intelligence which resembles musical improvisation on a given motive, where the farthest sweep of curve is looped into relevancy by an instinctive method, from the florid inaccuracy or helpless exaggeration which is really something commoner than the correct simplicity often depreciated as prosaic.

Even if high imagination were to be identified with illusion, there would be the same sort of difference between the imperial wealth of illusion which is informed by industrious submissive observation and the trumpery stage-property illusion which depends on the ill-defined impressions gathered by capricious inclination, as there is between a good and a bad picture of the Last Judgment. In both these the subject is a combination never actually witnessed, and in the good picture the general combination may be of surpassing boldness; but on examination it is seen that the separate elements have been closely studied from real objects. And even where we find the charm of ideal elevation with wrong drawing and fantastic colour, the charm is dependent on the selective sensibility of the painter to certain real delicacies of form which confer the expression he longed to render; for apart from this basis of an effect perceived in common, there could be no conveyance of aesthetic meaning by the painter to the beholder. In this sense it is as true to say of Fra Angelico's Coronation of the Virgin, that it has a strain of reality, as to say so of a portrait by Rembrandt, which also has its strain of ideal elevation due to Rembrandt's virile selective sensibility. To correct such self-flatterers as Callista, it is worth repeating that powerful imagination is not false outward vision, but intense inward representation, and a creative energy constantly fed by susceptibility to the veriest minutiae of experience, which it reproduces and constructs in fresh and fresh wholes; not the habitual confusion of provable fact with the fictions of fancy and transient inclination, but a breadth of ideal association which informs every material object, every incidental fact with far-reaching memories and stored residues of passion, bringing into new light the less obvious relations of human existence. The illusion to which it is liable is not that of habitually taking duck-ponds for lilied pools, but of being more or less transiently and in varying degrees so absorbed in ideal vision as to lose the consciousness of surrounding objects or occurrences; and when that rapt condition is past, the sane genius discriminates clearly between what has been given in this parenthetic state of excitement, and what he has known, and may count on, in the ordinary world of experience. Dante seems to have expressed these conditions perfectly in that passage of the Purgatorio where, after a triple vision which has made him forget his surroundings, he says—