The Uncollected Writings of Thomas de Quincey, Vol. 1. Томас Де Квинси

theirs—solemn tournaments, single duels, casual 'turn-ups,' and regular 'stand-up' fights. The most celebrated of these was in the beginning of the last century, when, amongst others who acted as bottle-holders, umpires, &c., two champions in particular 'peeled' and fought a considerable number of rounds, mutually administering severe punishment, and both coming out of the ring disfigured: these were M. la Motte and Madame Dacier. But Motte was the favourite at first, and once he got Dacier 'into chancery,' and 'fibbed' her twice round the ropes, so that she became a truly pitiable and delightful spectacle to the connoisseurs in fibbing and bloodshed. But here lay the difference: Motte was a hard hitter; he was a clever man, and (which all clever men are not) a man of sense; but, like Shakspeare, he had no Greek. On the other hand, Dacier had nothing but Greek. A certain abbé, at that time, amused all Paris with his caricatures of this Madame Dacier, 'who,' said he, 'ought to be cooking her husband's dinner, and darning his stockings, instead of skirmishing and tilting with Grecian spears; for, be it known that, after all her not cooking and her not darning, she is as poor a scholar as her injured husband is a good one.' And there the abbé was right; witness the husband's Horace, in 9 vols., against the wife's Homer. However, this was not generally understood. The lady, it was believed, waded petticoat-deep in Greek clover; and in any Grecian field of dispute, naturally she must be in the right, as against one who barely knew his own language and a little Latin. Motte was, therefore, thought by most people to have come off second best. For, as soon as ever he opened thus—'Madame, it seems to me that, agreeably to all common sense or common decorum, the Greek poet should here'–instantly, without listening to his argument, the intrepid Amazon replied (ὑποδρα ιδουσα), 'You foolish man! you remarkably silly man!—that is because you know no better; and the reason you know no better, is because you do not understand ton d'apameibomenos as I do.' Ton d'apameibomenos fell like a hand-grenade amongst Motte's papers, and blew him up effectually in the opinion of the multitude. No matter what he might say in reply—no matter how reasonable, how unanswerable—that one spell of 'No Greek! no Greek!' availed as a talisman to the lady both for offence and defence; and refuted all syllogisms and all eloquence as effectually as the cry of À la lanterne! in the same country some fourscore years after.

      So it will always be. Those who (like Madame Dacier) possess no accomplishment but Greek, will, of necessity, set a superhuman value upon that literature in all its parts, to which their own narrow skill becomes an available key. Besides that, over and above this coarse and conscious motive for overrating that which reacts with an equal and answerable overrating upon their own little philological attainments, there is another agency at work, and quite unconsciously to the subjects of that agency, in disturbing the sanity of any estimate they may make of a foreign literature. It is the habit (well known to psychologists) of transferring to anything created by our own skill, or which reflects our own skill, as if it lay causatively and objectively3 in the reflecting thing itself, that pleasurable power which in very truth belongs subjectively to the mind of him who surveys it, from conscious success in the exercise of his own energies. Hence it is that we see daily without surprise, young ladies hanging enamoured over the pages of an Italian author, and calling attention to trivial commonplaces, such as, clothed in plain mother English, would have been more repulsive to them than the distinctions of a theologian, or the counsels of a great-grandmother. They mistake for a pleasure yielded by the author, what is in fact the pleasure attending their own success in mastering what was lately an insuperable difficulty.

      It is indeed a pitiable spectacle to any man of sense and feeling, who happens to be really familiar with the golden treasures of his own ancestral literature, and a spectacle which moves alternately scorn and sorrow, to see young people squandering their time and painful study upon writers not fit to unloose the shoes' latchets of many amongst their own compatriots; making painful and remote voyages after the drossy refuse, when the pure gold lies neglected at their feet. Too often he is reminded of a case, which is still sometimes to be witnessed in London. Now and then it will happen that a lover of art, modern or antique alike, according to its excellence, will find himself honoured by an invitation from some millionnaire, or some towering grandee, to 'assist,' as the phrase is, at the opening of a case newly landed from the Tiber or the Arno, and fraught (as he is assured) with the very gems of Italian art, inter-mingled besides with many genuine antiques. He goes: the cases are solemnly disgorged; adulatory hangers on, calling themselves artists, and, at all events, so much so as to appreciate the solemn farce enacted, stand by uttering hollow applauses of my Lord's taste, and endeavouring to play upon the tinkling cymbals of spurious enthusiasm: whilst every man of real discernment perceives at a glance the mere refuse and sweeping of a third-rate studio, such as many a native artist would disdain to turn out of his hands; and antiques such as could be produced, with a month's notice, by cart-loads, in many an obscure corner of London. Yet for this rubbish has the great man taken a painful tour; compassed land and sea; paid away in exchange a king's ransom; and claims now on their behalf, the very humblest homage of artists who are taxed with the basest envy if they refuse it, and who, meantime, cannot in sincerity look upon the trumpery with other feelings than such as the potter's wheel, if (like Ezekiel's wheels) it were instinct with spirit, would entertain for the vilest of its own creations;—culinary or 'post-culinary' mugs and jugs. We, the writers of this paper, are not artists, are not connected with artists. And yet, upon the general principle of sympathy with native merit, and of disgust towards all affectation, we cannot but recall such anecdotes with scorn; and often we recollect the stories recorded by poor Benvenuto Cellini, that dissolute but brilliant vagabond, who (like our own British artists) was sometimes upbraided with the degeneracy of modern art, and, upon his humbly requesting some evidence, received, by way of practical answer, a sculptured gem or vase, perhaps with a scornful demand of—when would he be able to produce anything like that—'eh, Master Ben? Fancy we must wait a few centuries or so, before you'll be ready with the fellow of this.' And, lo! on looking into some hidden angle of the beautiful production, poor Cellini discovered his own private mark, the supposed antique having been a pure forgery of his own. Such cases remind one too forcibly of the pretty Horatian tale, where, in a contest between two men who undertake to mimic a pig's grunting, he who happens to be the favourite of the audience is applauded to the echo for his felicitous execution, and repeatedly encored, whilst the other man is hissed off the stage, and well kicked by a band of amateurs and cognoscenti, as a poor miserable copyist and impostor; but, unfortunately for the credit of his exploders, he has just time, before they have quite kicked him off, for exposing to view the real pig concealed under his cloak, which pig it was, and not himself, that had been the artist—forced by pinches into 'mimicry' of his own porcine music. Of all baffled connoisseurs, surely, these Roman pig-fanciers must have looked the most confounded. Yet there is no knowing: and we ourselves have a clever friend, but rather too given to subtilising, who contends, upon some argument not perfectly intelligible to us, that Horace was not so conclusive in his logic as he fancied; that the real pig might not have an 'ideal' or normal squeak, but a peculiar and non-representative squeak; and that, after all, the man might deserve the 'threshing' he got. Well, it may be so; but, however, the Roman audience, wrong or not, for once fancied themselves in the wrong; and we cannot but regret that our own ungenerous disparagers of native merit, and exclusive eulogisers of the dead or the alien—of those only 'quos Libitina sacravit,' or whom oceans divide from us—are not now and then open to the same palpable refutation, as they are certainly guilty of the same mean error, in prejudging the whole question, and refusing to listen even to the plain evidence of their own feelings, or, in some cases, to the voice of their own senses.

      From this preface it is already abundantly clear what side we take in this dispute about modern literature and the antique.4 And we now propose to justify our leaning by a general review of the Pagan authors, in their elder section—that is, the Grecians. These will be enough in all conscience, for one essay; and even for them we meditate a very cursory inquest; not such as would suffice in a grand ceremonial day of battle—a justum prœlium, as a Roman would call it—but in a mere perfunctory skirmish, or (if the reader objects to that word as pedantic, though, really, it is a highly-favoured word amongst ancient divines, and with many a

      'philosopher,

      Who has read

3

Objectively and subjectively are terms somewhat too metaphysical; but they are so indispensable to accurate thinking that we are inclined to show them some indulgence; and, the more so, in cases where the mere position and connection of the words are half sufficient to explain their application.

4

In general usage, 'The antique' is a phrase limited to the expression of art; but improperly so. It is quite as legitimately used to denote the literature of ancient times, in contradistinction to the modern. As to the term classical, though generally employed as equivalent to Greek and Roman, the reader must not forget this is quite a false limitation, contradicting the very reason for applying the word in any sense to literature. For the application arose thus: The social body of Rome being divided into six classes, of which the lowest was the sixth, it followed that the highest was the first. Thence, by a natural process common to most languages, those who belonged to this highest had no number at all assigned to them. The very absence of a number, the calling them classici, implied that they belonged to the class emphatically, or par excellence. The classics meant, therefore, the grandees in social consideration; and thence by analogy in literature. But if this analogy be transferred from Rome to Greece, where it had no corresponding root in civic arrangement—then, by parity of reason, to all nations.