Table-Talk, Essays on Men and Manners [146]
of it on various degrees of feeling and discrimination in you; but to commence artist or connoisseur in the grand style at once, without any distinction of qualifications whatever, it is only necessary for the first to choose his subject and for the last to pin his faith on the sublimity of the performance, for both to look down with ineffable contempt on the painters and admirers of subjects of low life. I remember a young Scotchman once trying to prove to me that Mrs. Dickons was a superior singer to Miss Stephens, because the former excelled in sacred music and the latter did not. At that rate, that is, if it is the singing sacred music that gives the preference, Miss Stephens would only have to sing sacred music to surpass herself and vie with her pretended rival; for this theory implies that all sacred music is equally good, and, therefore, better than any other. I grant that Madame Catalani's singing of sacred music is superior to Miss Stephens's ballad-strains, because her singing is better altogether, and an ocean of sound more wonderful than a simple stream of dulcet harmonies. In singing the last verse of 'God Save the King' not long ago her voice towered above the whole confused noise of the orchestra like an eagle piercing the clouds, and poured 'such sweet thunder' through the ear as excited equal astonishment and rapture!
Some kinds of criticism are as much too insipid as others are too pragmatical. It is not easy to combine point with solidity, spirit with moderation and candour. Many persons see nothing but beauties in a work, others nothing but defects. Those cloy you with sweets, and are 'the very milk of human kindness,' flowing on in a stream of luscious panegyrics; these take delight in poisoning the sources of your satisfaction, and putting you out of conceit with nearly every author that comes in their way. The first are frequently actuated by personal friendship, the last by all the virulence of party spirit. Under the latter head would fall what may be termed _political criticism._ The basis of this style of writing is a _caput mortuum_ of impotent spite and dulness, till it is varnished over with the slime of servility, and thrown into a state of unnatural activity by the venom of the most rancorous bigotry. The eminent professors in this grovelling department are at first merely out of sorts with themselves, and vent their spleen in little interjections and contortions of phrase--cry _Pish_ at a lucky hit, and _Hem_ at a fault, are smart on personal defects, and sneer at 'Beauty out of favour and on crutches'--are thrown into an ague-fit by hearing the name of a rival, start back with horror at any approach to their morbid pretensions, like Justice Woodcock with his gouty limbs--rifle the flowers of the Della Cruscan school, and give you in their stead, as models of a pleasing pastoral style, Verses upon Anna--which you may see in the notes to the _Baviad_ and _Maeviad._ All this is like the fable of 'The Kitten and the Leaves.' But when they get their brass collar on and shake their bells of office, they set up their backs like the Great Cat Rodilardus, and pounce upon men and things. Woe to any little heedess reptile of an author that ventures across their path without a safe-conduct from the Board of Control. They snap him up at a mouthful, and sit licking their lips, stroking their whiskers, and rattling their bells over the imaginary fragments of their devoted prey, to the alarm and astonishment of the whole breed of literary, philosophical, and revolutionary vermin that were naturalised in this country by a Prince of Orange and an Elector of Hanover a hundred years ago.[4] When one of these pampered, sleek, 'demure-looking, spring-nailed, velvet-pawed, green-eyed' critics makes his King and Country parties to this sort of sport literary, you have not much chance of escaping out of his clutches in a whole skin. Treachery becomes a principle with them, and mischief a conscience, that is, a livelihood. They not only _damn_ the work in the lump, but vilify and traduce the
Some kinds of criticism are as much too insipid as others are too pragmatical. It is not easy to combine point with solidity, spirit with moderation and candour. Many persons see nothing but beauties in a work, others nothing but defects. Those cloy you with sweets, and are 'the very milk of human kindness,' flowing on in a stream of luscious panegyrics; these take delight in poisoning the sources of your satisfaction, and putting you out of conceit with nearly every author that comes in their way. The first are frequently actuated by personal friendship, the last by all the virulence of party spirit. Under the latter head would fall what may be termed _political criticism._ The basis of this style of writing is a _caput mortuum_ of impotent spite and dulness, till it is varnished over with the slime of servility, and thrown into a state of unnatural activity by the venom of the most rancorous bigotry. The eminent professors in this grovelling department are at first merely out of sorts with themselves, and vent their spleen in little interjections and contortions of phrase--cry _Pish_ at a lucky hit, and _Hem_ at a fault, are smart on personal defects, and sneer at 'Beauty out of favour and on crutches'--are thrown into an ague-fit by hearing the name of a rival, start back with horror at any approach to their morbid pretensions, like Justice Woodcock with his gouty limbs--rifle the flowers of the Della Cruscan school, and give you in their stead, as models of a pleasing pastoral style, Verses upon Anna--which you may see in the notes to the _Baviad_ and _Maeviad._ All this is like the fable of 'The Kitten and the Leaves.' But when they get their brass collar on and shake their bells of office, they set up their backs like the Great Cat Rodilardus, and pounce upon men and things. Woe to any little heedess reptile of an author that ventures across their path without a safe-conduct from the Board of Control. They snap him up at a mouthful, and sit licking their lips, stroking their whiskers, and rattling their bells over the imaginary fragments of their devoted prey, to the alarm and astonishment of the whole breed of literary, philosophical, and revolutionary vermin that were naturalised in this country by a Prince of Orange and an Elector of Hanover a hundred years ago.[4] When one of these pampered, sleek, 'demure-looking, spring-nailed, velvet-pawed, green-eyed' critics makes his King and Country parties to this sort of sport literary, you have not much chance of escaping out of his clutches in a whole skin. Treachery becomes a principle with them, and mischief a conscience, that is, a livelihood. They not only _damn_ the work in the lump, but vilify and traduce the