Table-Talk, Essays on Men and Manners [79]
and in many other Instances behaved himself undutifully towards me, I do disinherit, and wholly cut off from any Part of this my Personal Estate, by giving him a single Cockle-Shell.
To my Second Son Charles, I give and bequeath all my Flowers, Plants, Minerals, Mosses, Shells, Pebbles, Fossils, Beetles, Butterflies, Caterpillars, Grasshoppers, and Vermin, not above specified : As also my Monsters, both wet and dry, making the said Charles whole and sole Executor of this my Last Will and Testament, he paying or causing to be paid the aforesaid Legacies within the Space of Six Months after my Decease. And I do hereby revoke all other Wills whatsoever by me formerly made.'--_Tatler,_ vol. iv. No. 216.
[4] Kellerman lately left his heart to be buried in the field of Valmy, where the first great battle was fought in the year 1792, in which the Allies were repulsed. Oh! might that heart prove the root from which the tree of Liberty may spring up and flourish once more, as the basil tree grew and grew from the cherished head of Isabella's lover!
ESSAY XIII
ON CERTAIN INCONSISTENCIES IN SIR JOSHUA REYNOLDS'S DISCOURSES
The two chief points which Sir Joshua aims at in his _Discourses_ are to show that excellence in the Fine Arts is the result of pains and study rather than of genius, and that all beauty, grace, and grandeur are to be found, not in actual nature, but in an idea existing in the mind. On both these points he appears to have fallen into considerable inconsistencies or very great latitude of expression, so as to make it difficult to know what conclusion to draw from his various reasonings. I shall attempt little more in this Essay than to bring together several passages that, from their contradictory import, seem to imply some radical defect in Sir Joshua's theory, and a doubt as to the possibility of placing an implicit reliance on his authority.
To begin with the first of these subjects, the question of original genius. In the Second Discourse, 'On the Method of Study,' Sir Joshua observes towards the end:
'There is one precept, however, in which I shall only be opposed by the vain, the ignorant, and the idle. I am not afraid that I shall repeat it too often. You must have no dependence on your own genius. If you have great talents, industry will improve them: if you have but moderate abilities, industry will supply their deficiency. Nothing is denied to well-directed labour; nothing is to be obtained without it. Not to enter into metaphysical discussions on the nature or essence of genius, I will venture to assert that assiduity unabated by difficulty, and a disposition eagerly directed to the object of its pursuit, will produce effects similar to those which some call the result of _natural powers.'_
The only tendency of the maxim here laid down seems to be to lure those students on with the hopes of excellence who have no chance of succeeding, and to deter those who have from relying on the only prop and source of real excellence--the strong bent and impulse of their natural powers. Industry alone can only produce mediocrity; but mediocrity in art is not worth the trouble of industry. Genius, great natural powers, will give industry and ardour in the pursuit of their proper object, but not if you divert them from that object into the trammels of common-place mechanical labour. By this method you neutralise all distinction of character--make a pedant of the blockhead and a drudge of the man of genius. What, for instance, would have been the effect of persuading Hogarth or Rembrandt to place no dependence on their own genius, and to apply themselves to the general study of the different branches of the art and of every sort of excellence, with a confidence of success proportioned to their misguided efforts, but to destroy both those great artists? 'You take my house when you do take the prop that doth sustain my house!' You undermine the superstructure of art when you strike at its main pillar and support, confidence and faith in nature. We might as well advise a person
To my Second Son Charles, I give and bequeath all my Flowers, Plants, Minerals, Mosses, Shells, Pebbles, Fossils, Beetles, Butterflies, Caterpillars, Grasshoppers, and Vermin, not above specified : As also my Monsters, both wet and dry, making the said Charles whole and sole Executor of this my Last Will and Testament, he paying or causing to be paid the aforesaid Legacies within the Space of Six Months after my Decease. And I do hereby revoke all other Wills whatsoever by me formerly made.'--_Tatler,_ vol. iv. No. 216.
[4] Kellerman lately left his heart to be buried in the field of Valmy, where the first great battle was fought in the year 1792, in which the Allies were repulsed. Oh! might that heart prove the root from which the tree of Liberty may spring up and flourish once more, as the basil tree grew and grew from the cherished head of Isabella's lover!
ESSAY XIII
ON CERTAIN INCONSISTENCIES IN SIR JOSHUA REYNOLDS'S DISCOURSES
The two chief points which Sir Joshua aims at in his _Discourses_ are to show that excellence in the Fine Arts is the result of pains and study rather than of genius, and that all beauty, grace, and grandeur are to be found, not in actual nature, but in an idea existing in the mind. On both these points he appears to have fallen into considerable inconsistencies or very great latitude of expression, so as to make it difficult to know what conclusion to draw from his various reasonings. I shall attempt little more in this Essay than to bring together several passages that, from their contradictory import, seem to imply some radical defect in Sir Joshua's theory, and a doubt as to the possibility of placing an implicit reliance on his authority.
To begin with the first of these subjects, the question of original genius. In the Second Discourse, 'On the Method of Study,' Sir Joshua observes towards the end:
'There is one precept, however, in which I shall only be opposed by the vain, the ignorant, and the idle. I am not afraid that I shall repeat it too often. You must have no dependence on your own genius. If you have great talents, industry will improve them: if you have but moderate abilities, industry will supply their deficiency. Nothing is denied to well-directed labour; nothing is to be obtained without it. Not to enter into metaphysical discussions on the nature or essence of genius, I will venture to assert that assiduity unabated by difficulty, and a disposition eagerly directed to the object of its pursuit, will produce effects similar to those which some call the result of _natural powers.'_
The only tendency of the maxim here laid down seems to be to lure those students on with the hopes of excellence who have no chance of succeeding, and to deter those who have from relying on the only prop and source of real excellence--the strong bent and impulse of their natural powers. Industry alone can only produce mediocrity; but mediocrity in art is not worth the trouble of industry. Genius, great natural powers, will give industry and ardour in the pursuit of their proper object, but not if you divert them from that object into the trammels of common-place mechanical labour. By this method you neutralise all distinction of character--make a pedant of the blockhead and a drudge of the man of genius. What, for instance, would have been the effect of persuading Hogarth or Rembrandt to place no dependence on their own genius, and to apply themselves to the general study of the different branches of the art and of every sort of excellence, with a confidence of success proportioned to their misguided efforts, but to destroy both those great artists? 'You take my house when you do take the prop that doth sustain my house!' You undermine the superstructure of art when you strike at its main pillar and support, confidence and faith in nature. We might as well advise a person