The Life and Letters-1 [67]
whole new divisions of special subjects--such as the fertilisation of flowers, insectivorous plants, dimorphism, etc.--yet even in treating these very subjects he does not strike the reader as a specialist. The reader feels like a friend who is being talked to by a courteous gentleman, not like a pupil being lectured by a professor. The tone of such a book as the 'Origin' is charming, and almost pathetic; it is the tone of a man who, convinced of the truth of his own views, hardly expects to convince others; it is just the reverse of the style of a fanatic, who wants to force people to believe. The reader is never scorned for any amount of doubt which he may be imagined to feel, and his scepticism is treated with patient respect. A sceptical reader, or perhaps even an unreasonable reader, seems to have been generally present to his thoughts. It was in consequence of this feeling, perhaps, that he took much trouble over points which he imagined would strike the reader, or save him trouble, and so tempt him to read.
For the same reason he took much interest in the illustrations of his books, and I think rated rather too highly their value. The illustrations for his earlier books were drawn by professional artists. This was the case in 'Animals and Plants,' the 'Descent of Man,' and the 'Expression of the Emotions.' On the other hand, 'Climbing Plants,' 'Insectivorous Plants,' the 'Movements of Plants,' and 'Forms of Flowers,' were, to a large extent, illustrated by some of his children--my brother George having drawn by far the most. It was delightful to draw for him, as he was enthusiastic in his praise of very moderate performances. I remember well his charming manner of receiving the drawings of one of his daughters-in- law, and how he would finish his words of praise by saying, "Tell A--, Michael Angelo is nothing to it." Though he praised so generously, he always looked closely at the drawing, and easily detected mistakes or carelessness.
He had a horror of being lengthy, and seems to have been really much annoyed and distressed when he found how the 'Variations of Animals and Plants' was growing under his hands. I remember his cordially agreeing with 'Tristram Shandy's' words, "Let no man say, 'Come, I'll write a duodecimo.'"
His consideration for other authors was as marked a characteristic as his tone towards his reader. He speaks of all other authors as persons deserving of respect. In cases where, as in the case of --'s experiments on Drosera, he thought lightly of the author, he speaks of him in such a way that no one would suspect it. In other cases he treats the confused writings of ignorant persons as though the fault lay with himself for not appreciating or understanding them. Besides this general tone of respect, he had a pleasant way of expressing his opinion on the value of a quoted work, or his obligation for a piece of private information.
His respectful feeling was not only morally beautiful, but was I think of practical use in making him ready to consider the ideas and observations of all manner of people. He used almost to apologise for this, and would say that he was at first inclined to rate everything too highly.
It was a great merit in his mind that, in spite of having so strong a respectful feeling towards what he read, he had the keenest of instincts as to whether a man was trustworthy or not. He seemed to form a very definite opinion as to the accuracy of the men whose books he read; and made use of this judgment in his choice of facts for use in argument or as illustrations. I gained the impression that he felt this power of judging of a man's trustworthiness to be of much value.
He had a keen feeling of the sense of honour that ought to reign among authors, and had a horror of any kind of laxness in quoting. He had a contempt for the love of honour and glory, and in his letters often blames himself for the pleasure he took in the success of his books, as though he were departing from his ideal--a love of truth and carelessness about fame. Often, when writing
For the same reason he took much interest in the illustrations of his books, and I think rated rather too highly their value. The illustrations for his earlier books were drawn by professional artists. This was the case in 'Animals and Plants,' the 'Descent of Man,' and the 'Expression of the Emotions.' On the other hand, 'Climbing Plants,' 'Insectivorous Plants,' the 'Movements of Plants,' and 'Forms of Flowers,' were, to a large extent, illustrated by some of his children--my brother George having drawn by far the most. It was delightful to draw for him, as he was enthusiastic in his praise of very moderate performances. I remember well his charming manner of receiving the drawings of one of his daughters-in- law, and how he would finish his words of praise by saying, "Tell A--, Michael Angelo is nothing to it." Though he praised so generously, he always looked closely at the drawing, and easily detected mistakes or carelessness.
He had a horror of being lengthy, and seems to have been really much annoyed and distressed when he found how the 'Variations of Animals and Plants' was growing under his hands. I remember his cordially agreeing with 'Tristram Shandy's' words, "Let no man say, 'Come, I'll write a duodecimo.'"
His consideration for other authors was as marked a characteristic as his tone towards his reader. He speaks of all other authors as persons deserving of respect. In cases where, as in the case of --'s experiments on Drosera, he thought lightly of the author, he speaks of him in such a way that no one would suspect it. In other cases he treats the confused writings of ignorant persons as though the fault lay with himself for not appreciating or understanding them. Besides this general tone of respect, he had a pleasant way of expressing his opinion on the value of a quoted work, or his obligation for a piece of private information.
His respectful feeling was not only morally beautiful, but was I think of practical use in making him ready to consider the ideas and observations of all manner of people. He used almost to apologise for this, and would say that he was at first inclined to rate everything too highly.
It was a great merit in his mind that, in spite of having so strong a respectful feeling towards what he read, he had the keenest of instincts as to whether a man was trustworthy or not. He seemed to form a very definite opinion as to the accuracy of the men whose books he read; and made use of this judgment in his choice of facts for use in argument or as illustrations. I gained the impression that he felt this power of judging of a man's trustworthiness to be of much value.
He had a keen feeling of the sense of honour that ought to reign among authors, and had a horror of any kind of laxness in quoting. He had a contempt for the love of honour and glory, and in his letters often blames himself for the pleasure he took in the success of his books, as though he were departing from his ideal--a love of truth and carelessness about fame. Often, when writing