Ernest Maltravers — Volume 05

His first work was successful; perhaps for this reason—that it bore the stamp of the Honest and the Real. He did not sit down to report of what he had never seen, to dilate on what he had never felt. A quiet and thoughtful observer of life, his descriptions were the more vivid, because his own first impressions were not yet worn away. His experience had sunk deep; not on the arid surface of matured age, but in the fresh soil of youthful emotions. Another reason, perhaps, that obtained success for his essay was, that he had more varied and more elaborate knowledge than young authors think it necessary to possess. He did not, like Cesarini, attempt to make a show of words upon a slender capital of ideas. Whether his style was eloquent or homely; it was still in him a faithful transcript of considered and digested thought. A third reason—and I dwell on these points not more to elucidate the career of Maltravers than as hints which may be useful to others—a third reason why Maltravers obtained a prompt and favourable reception from the public was, that he had not hackneyed his peculiarities of diction and thought in that worst of all schools for the literary novice—the columns of a magazine. Periodicals form an excellent mode of communication between the public and an author /already/ established, who has lost the charm of novelty, but gained the weight of acknowledged reputation; and who, either upon politics or criticism, seeks for frequent and continuous occasions to enforce his peculiar theses and doctrines. But, upon the young writer, this mode of communication, if too long continued, operates most injuriously both as to his future prospects and his own present taste and style. With respect to the first, it familiarises the public to his mannerism (and all writers worth reading have mannerism) in a form to which the said public are not inclined to attach much weight. He forestalls in a few months what ought to be the effect of years; namely, the wearying a world soon nauseated with the /toujours perdrix/. With respect to the last, it induces a man to write for momentary effects; to study a false smartness of style and reasoning; to bound his ambition of durability to the last day of the month; to expect immediate returns for labour; to recoil at the "hope deferred" of serious works on which judgment is slowly formed. The man of talent who begins young at periodicals, and goes on long, has generally something crude and stunted about both his compositions and his celebrity. He grows the oracle of small coteries; and we can rarely get out of the impression that he is cockneyfied and conventional. Periodicals sadly mortgaged the claims that Hazlitt, and many others of his contemporaries, had upon a vast reversionary estate of Fame. But I here speak too politically; to some the /res angustoe domi/ leave no option. And, as Aristotle and the Greek proverb have it, we cannot carve out all things with the knife of the Delphic cutler.

The second work that Maltravers put forth, at an interval of eighteen months from the first, was one of a graver and higher nature; it served to confirm his reputation: and that is success enough for a second work, which is usually an author's "/pons asinorum/." He who, after a triumphant first book, does not dissatisfy the public with a second, has a fair chance of gaining a fixed station in literature. But now commenced the pains and perils of the after-birth. By a maiden effort an author rarely makes enemies. His fellow-writers are not yet prepared to consider him as a rival; if he be tolerably rich, they unconsciously trust that he will not become a regular, or, as they term it, "a professional" author: he did something just to be talked of; he may write no more, or his second book may fail. But when that second book comes out, and does not fail, they begin to look about them; envy wakens, malice begins. And all the old school—gentlemen who have retired on their pensions of renown—regard him as an intruder: then the sneer, then the frown, the caustic irony, the biting review, the depreciating praise. The novice begins to think that he is further from the goal than before he set out upon the race.

Maltravers had, upon the whole, a tolerably happy temperament; but he was a very proud man, and he had the nice soul of a courageous, honourable, punctilious gentleman. He thought it singular that society should call upon him, as a gentleman, to shoot his best friend, if that friend affronted him with a rude word; and yet that, as an author, every fool and liar might, with perfect impunity, cover reams of paper with the most virulent personal abuse of him.

It was one evening in the early summer that, revolving anxious and doubtful thoughts, Ernest sauntered gloomily along his terrace,

"And watched with wistful eyes the setting sun."

when he perceived a dusty travelling carriage whirled along the road by the ha-ha, and a hand waved in recognition from the open window. His guests had been so rare, and his friends were so few, that Maltravers could not conjecture who was his intended visitant. His brother, he knew, was in London. Cleveland, from whom he had that day heard, was at his villa. Ferrers was enjoying himself in Vienna. Who could it be? We may say of solitude what we please; but, after two years of solitude, a visitor is a pleasurable excitement. Maltravers retraced his steps, entered his house, and was just in time to find himself almost in the arms of De Montaigne.

CHAPTER V

"Quid tam dextro pede concipis ut te,
Conatus non poeniteat, votique peracti?"[3 - What, under such happy auspices do you conceive that you may not repent of your endeavour and accomplished wish?]

    —JUV.

"YES," said De Montaigne, "in my way I also am fulfilling my destiny. I am a member of the /Chambre des Deputes/, and on a visit to England upon some commercial affairs. I found myself in your neighbourhood, and, of course, could not resist the temptation: so you must receive me as your guest for some days."

"I congratulate you cordially on your senatorial honours. I have already heard of your rising name."

"I return the congratulations with equal warmth. You are bringing my prophecies to pass. I have read your works with increased pride at our friendship."

Maltravers sighed slightly, and half turned away.

"The desire of distinction," said he, after a pause, "grows upon us till excitement becomes disease. The child who is born with the mariner's instinct laughs with glee when his paper bark skims the wave of a pool. By and by nothing will content him but the ship and the ocean.—Like the child is the author."

"I am pleased with your simile," said De Montaigne, smiling. "Do not spoil it, but go on with your argument."

Maltravers continued: "Scarcely do we win the applause of a moment, ere we summon the past and conjecture the future. Our contemporaries no longer suffice for competitors, our age for the Court to pronounce on our claims: we call up the Dead as our only true rivals—we appeal to Posterity as our sole just tribunal. Is this vain in us? Possibly. Yet such vanity humbles. 'Tis then only we learn all the difference between Reputation and Fame—between To-Day and Immortality!"

"Do you think," replied De Montaigne, "that the dead did not feel the same when they first trod the path that leads to the life beyond life? Continue to cultivate the mind, to sharpen by exercise the genius, to attempt to delight or to instruct your race; and even supposing you fall short of every model you set before you—supposing your name moulder with your dust, still yon will have passed life more nobly than the unlaborious herd. Grant that you win not that glorious accident, 'a name below,' how can you tell but what you may have fitted yourself for high destiny and employ in the world not of men, but of spirits? The powers of the mind are things that cannot be less immortal than the mere sense of identity; their acquisitions accompany us through the Eternal Progress; and we may obtain a lower or a higher grade hereafter, in proportion as we are more or less fitted by the exercise of our intellect to comprehend and execute the solemn agencies of God. The wise man is nearer to the angels than the fool is. This may be an apocryphal dogma, but it is not an impossible theory."

"But we may waste the sound enjoyments of actual life in chasing the hope you justly allow to be 'apocryphal;' and our knowledge may go for nothing in the eyes of the Omniscient."

"Very well," said De Montaigne, smiling; "but answer me honestly. By the pursuits of intellectual ambition do you waste the sound enjoyments of life? If so, you do not pursue the system rightly. Those pursuits ought only to quicken your sense for such pleasures as are the true relaxations of life. And this, with you peculiarly, since you are fortunate enough not to depend for subsistence upon literature;—did you do so, I might rather advise you to be a trunkmaker than an author. A man ought not to attempt any of the highest walks of Mind and Art, as the mere provision of daily bread; not literature alone, but everything else of the same degree. He ought not to be a statesman, or an orator, or a philosopher, as a thing of pence and shillings: and usually all men, save the poor poet, feel this truth insensibly."

"This may be fine preaching," said Maltravers; "but you may be quite sure that the pursuit of literature is a pursuit apart from the ordinary objects of life, and you cannot command the enjoyments of both."

"I think otherwise," said De Montaigne; "but it is not in a country house eighty miles from the capital, without wife, guests, or friends, that the experiment can be fairly made. Come, Maltravers, I see before you a brave career, and I cannot permit you to halt at the onset."

"You do not see all the calumnies that are already put forth against me, to say nothing of all the assurances (and many by clever men) that there is nothing in me!"

"Dennis was a clever man, and said the same thing of your Pope. Madame de Sevigne was a clever woman, but she thought Racine would never be very famous. Milton saw nothing in the first efforts of Dryden that made him consider Dryden better than a rhymester. Aristophanes was a good judge of poetry, yet how ill he judged of Euripides! But all this is commonplace, and yet you bring arguments that a commonplace answers in evidence against yourself."

"But it is unpleasant not to answer attacks—not to retaliate on enemies."

"Then answer attacks, and retaliate on enemies."

"But would that be wise?"

"If it give you pleasure—it would not please /me/."

"Come, De Montaigne, you are reasoning Socratically. I will ask you plainly and bluntly, would you advise an author to wage war on his literary assailants, or to despise them?"

"Both; let him attack but few, and those rarely. But it is his policy to show that he is one whom it is better not to provoke too far. The author always has the world on his side against the critics, if he choose his opportunity. And he must always recollect that he is 'A STATE' in himself, which must sometimes go to war in order to procure peace. The time for war or for peace must be left to the State's own diplomacy and wisdom."

"You would make us political machines."

"It would make every man's conduct more or less mechanical; for system is the triumph of mind over matter; the just equilibrium of all the powers and passions may seem like machinery. Be it so. Nature meant the world—the creation—man himself, for machines."

"And one must even be in a passion mechanically, according to your theories."

"A man is a poor creature who is not in a passion sometimes; but a very unjust, or a very foolish one, if he be in a passion with the wrong person, and in the wrong place and time. But enough of this, it is growing late."

"And when will Madame visit England?"

"Oh, not yet, I fear. But you will meet Cesarini in London this year or the next. He is persuaded that you did not see justice done to his poems, and is coming here as soon as his indolence will let him, to proclaim your treachery in a biting preface to some toothless satire."

"Satire!"

"Yes; more than one of your poets made their way by a satire, and Cesarini is persuaded he shall do the same. Castruccio is not as far-sighted as his namesake, the Prince of Lucca. Good night, my dear Ernest."

CHAPTER VI

"When with much pains this boasted learning's got,
'Tis an affront to those who have it not."

    CHURCHILL: /The Author/.

THERE was something in De Montaigne's conversation, which, without actual flattery, reconciled Maltravers to himself and his career. It served less, perhaps, to excite than to sober and brace his mind. De Montaigne could have made no man rash, but he could have made many men energetic and persevering. The two friends had some points in common; but Maltravers had far more prodigality of nature and passion about him—had more of flesh and blood, with the faults and excellences of flesh and blood. De Montaigne held so much to his favourite doctrine of moral equilibrium, that he had really reduced himself in much to a species of clockwork. As impulses are formed from habits, so the regularity of De Montaigne's habits made his impulses virtuous and just, and he yielded to them as often as a hasty character might have done; but then those impulses never urged to anything speculative or daring. De Montaigne could not go beyond a certain defined circle of action. He had no sympathy for any reasonings based purely on the hypotheses of the imagination: he could not endure Plato, and he was dumb to the eloquent whispers of whatever was refining in poetry or mystical in wisdom.

Maltravers, on the contrary, not disdaining Reason, ever sought to assist her by the Imaginative Faculty, and held all philosophy incomplete and unsatisfactory that bounded its inquiries to the limits of the Known and Certain. He loved the inductive process; but he carried it out to Conjecture as well as Fact. He maintained that, by a similar hardihood, all the triumphs of science, as well as art, had been accomplished—that Newton, that Copernicus, would have done nothing if they had not imagined as well as reasoned, guessed as well as ascertained. Nay, it was an aphorism with him, that the very soul of philosophy is conjecture. He had the most implicit confidence in the operations of the mind and the heart properly formed, and deemed that the very excesses of emotion and thought, in men well trained by experience and study, are conducive to useful and great ends. But the more advanced years, and the singularly practical character of De Montaigne's views, gave him a superiority in argument over Maltravers which the last submitted to unwillingly. While, on the other hand, De Montaigne secretly felt that his young friend reasoned from a broader base, and took in a much wider circumference; and that he was, at once, more liable to failure and error, and more capable of new discovery and of intellectual achievement. But their ways in life being different, they did not clash; and De Montaigne, who was sincerely interested in Ernest's fate, was contented to harden his friend's mind against the obstacles in his way, and leave the rest to experiment and to Providence. They went up to London together: and De Montaigne returned to Paris. Maltravers appeared once more in the haunts of the gay and great. He felt that his new character had greatly altered his position. He was no longer courted and caressed for the same vulgar and adventitious circumstances of fortune, birth, and connections, as before—yet for circumstances that to him seemed equally unflattering. He was not sought for his merit, his intellect, his talents; but for his momentary celebrity. He was an author in fashion, and run after as anything else in fashion might have been. He was invited, less to be talked to than to be stared at. He was far too proud in his temper, and too pure in his ambition, to feel his vanity elated by sharing the enthusiasm of the circles with a German prince or an industrious flea. Accordingly he soon repelled the advances made to him, was reserved and supercilious to fine ladies, refused to be the fashion, and became very unpopular with the literary exclusives. They even began to run down the works, because they were dissatisfied with the author. But Maltravers had based his experiments upon the vast masses of the general Public. He had called the PEOPLE of his own and other countries to be his audience and his judges; and all the coteries in the world could have not injured him. He was like the member for an immense constituency, who may offend individuals, so long as he keep his footing with the body at large. But while he withdrew himself from the insipid and the idle, he took care not to become separated from the world. He formed his own society according to his tastes: took pleasure in the manly and exciting topics of the day; and sharpened his observation and widened his sphere as an author, by mixing freely and boldly with all classes as a citizen. But literature became to him as art to the artist—as his mistress to the lover—an engrossing and passionate delight. He made it his glorious and divine profession—he loved it as a profession—he devoted to its pursuits and honours his youth, cares, dreams—his mind, and his heart, and his soul. He was a silent but intense enthusiast in the priesthood he had entered. From LITERATURE he imagined had come all that makes nations enlightened and men humane. And he loved Literature the more, because her distinctions were not those of the world—because she had neither ribbands, nor stars, nor high places at her command. A name in the deep gratitude and hereditary delight of men—this was the title she bestowed. Hers was the Great Primitive Church of the world, without Popes or Muftis—sinecures, pluralities and hierarchies. Her servants spoke to the earth as the prophets of old, anxious only to be heard and believed. Full of this fanaticism, Ernest Maltravers pursued his way in the great procession of the myrtle-bearers to the sacred shrine. He carried the thyrsus, and he believed in the god. By degrees his fanaticism worked in him the philosophy which De Montaigne would have derived from sober calculation; it made him indifferent to the thorns in the path, to the storms in the sky. He learned to despise the enmity he provoked, the calumnies that assailed him. Sometimes he was silent, but sometimes he retorted. Like a soldier who serves a cause, he believed that when the cause was injured in his person, the weapons confided to his hands might be wielded without fear and without reproach. Gradually he became feared as well as known. And while many abused him, none could contemn.

It would not suit the design of this work to follow Maltravers step by step in his course. I am only describing the principal events, not the minute details, of his intellectual life. Of the character of his works it will be enough to say that, whatever their faults, they were original—they were his own. He did not write according to copy, nor compile from commonplace books. He was an artist, it is true,—for what is genius itself but art? but he took laws, and harmony, and order, from the great code of Truth and Nature: a code that demands intense and unrelaxing study—though its first principles are few and simple: that study Maltravers did not shrink from. It was a deep love of truth that made him a subtle and searching analyst, even in what the dull world considers trifles; for he knew that nothing in literature is in itself trifling—that it is often but a hairsbreadth that divides a truism from a discovery. He was the more original, because he sought rather after the True than the New. No two minds are ever the same; and therefore any man who will give us fairly and frankly the results of his own impressions, uninfluenced by the servilities of imitation, will be original. But it was not from originality, which really made his predominant merit, that Maltravers derived his reputation, for his originality was not of that species which generally dazzles the vulgar—it was not extravagant nor /bizarre/—he affected no system and no school. Many authors of his day seemed more novel and /unique/ to the superficial. Profound and durable invention proceeds by subtle and fine gradations—it has nothing to do with those jerks and starts, those convulsions and distortions, which belong not to the vigour and health, but to the epilepsy and disease, of Literature.

CHAPTER VII

"Being got out of town, the first thing I did was to give my mule her head."

    —/Gil Blas/.

ALTHOUGH the character of Maltravers was gradually becoming more hard and severe,—although as his reason grew more muscular, his imagination lost something of its early bloom, and he was already very different from the wild boy who had set the German youths in a blaze, and had changed into a Castle of Indolence the little cottage tenanted with Poetry and Alice,—he still preserved many of his old habits; he loved, at frequent intervals, to disappear from the great world—to get rid of books and friends, and luxury and wealth, and make solitary excursions, sometimes on foot, sometimes on horseback, through this fair garden of England.

It was one soft May-day that he found himself on such an expedition, slowly riding through one of the green lanes of ———shire. His cloak and his saddle-bags comprised all his baggage, and the world was before him "where to choose his place of rest." The lane wound at length into the main road, and just as he came upon it he fell in with a gay party of equestrians.

Foremost of its cavalcade rode a lady in a dark green habit, mounted on a thoroughbred English horse, which she managed with so easy a grace that Maltravers halted in involuntary admiration. He himself was a consummate horseman, and he had the quick eye of sympathy for those who shared the accomplishment. He thought, as he gazed, that he had never seen but one woman whose air and mien on horseback were so full of that nameless elegance which skill and courage in any art naturally bestow—that woman was Valerie de Ventadour. Presently, to his great surprise, the lady advanced from her companions, neared Maltravers, and said, in a voice which he did not at first distinctly recognise—" Is it possible?—do I see Mr. Maltravers?"