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It would be more useful to discover another source of genius for philosophers and poets, less fallible than the gratuitous assumptions of these theorists. An adequate origin for peculiar qualities in the mind may be found in that constitutional or secret propensity which adapts some for particular pursuits, and forms the predisposition of genius.

Not that we are bound to demonstrate what our adversaries have failed in proving; we may still remain ignorant of the nature of genius, and yet be convinced that they have not revealed it. The phenomena of predisposition in the mind are not more obscure and ambiguous than those which have been assigned as the sources of genius in certain individuals. For is it more difficult to conceive that a person bears in his constitutional disposition a germ of native aptitude which is developing itself to a predominant character of genius, which breaks forth in the temperament and moulds the habits, than to conjecture that these men of genius could not have been such but from accident, or that they differ only in their capacity?

Every class of men of genius has distinct habits; all poets resemble one another, as all painters and all mathematicians. There is a conformity in the cast of their minds, and the quality of each is distinct from the other, and the very faculty which fits them for one particular pursuit, is just the reverse required for another. If these are truisms, as they may appear, we need not demonstrate that from which we only wish to draw our conclusion. Why does this remarkable similarity prevail through the classes of genius? Because each, in their favourite production, is working with the same appropriate organ. The poetical eye is early busied with imagery; as early will the reveries of the poetical mind be busied with the passions; as early will the painter's hand be copying forms and col

not his wings, but his heels. If some have written on genius with a great deal too much, others have written without any.

ours; as early will the young musician's ear wander in the creation of sounds, and the philosopher's head mature its meditations. It is then the aptitude of the appropriate organ, however it varies in its character, in which genius seems most concerned, and which is connatural and connate with the individual, and, as it was expressed in old days, is born with him. There seems no other source of genius; for whenever this has been refused by nature, as it is so often, no theory of genius, neither habit nor education, have ever supplied its want. To discriminate between the habit and the predisposition is quite impossible; because whenever great genius discovers itself, as it can only do by continuity, it has become a habit with the individual; it is the fatal notion of habit having the power of generating genius, which has so long served to delude the numerous votaries of mediocrity. Natural or native power is enlarged by art; but the most perfect art has but narrow limits, deprived of natural disposition.

A curious decision on this obscure subject may be drawn from an admirable judge of the nature of genius. AKENSIDE, in that fine poem which forms its history, tracing its

source, sang,

From Heaven my strains begin, from Heaven descends
The flame of genius to the human breast.

But in the final revision of that poem, which he left many years after, the bard has vindicated the solitary and independent origin of genius, by the mysterious epithet,

66 THE CHOSEN BREAST."

The veteran poet was, perhaps, schooled by the vicissitudes of his own poetical life, and those of some of his brothers.

Metaphors are but imperfect illustrations in metaphysical inquiries: usually they include too little or take in too much. Yet fanciful analogies are not willingly abandoned. The iconologists describe Genius as a winged child with a

flame above its head; the wings and the flame express more than some metaphysical conclusions. Let me substitute for "the white paper "of Locke, which served the philosopher in his description of the operations of the senses on the mind, a less artificial substance. In the soils of the earth we may discover that variety of primary qualities which we believe to exist in human minds. The botanist and the geologist always find the nature of the strata indicative of its productions; the meagre light herbage announces the poverty of the soil it covers, while the luxuriant growth of plants betrays the richness of the matrix in which the roots are fixed. It is scarcely reasoning by analogy to apply this operating principle of nature to the faculties of men.

But while the origin and nature of that faculty which we understand by the term Genius remain still wrapt up in its mysterious bud, may we not trace its history in its votaries? If Nature overshadow with her wings her first causes, still the effects lie open before us, and experience and observation will often deduce from consciousness what we cannot from demonstration. If Nature, in some of her great operations, has kept back her last secrets; if Newton, even in the result of his reasonings, has religiously abstained from penetrating into her occult connexions, is it nothing to be her historian, although we cannot be her legislator?

CHAPTER V.

Youth of genius.-Its first impulses may be illustrated by its subsequent actions. -Parents have another association of the man of genius than we.-Of genius, its first habits. Its melancholy.-Its reveries.-Its love of solitude.-Its disposition to repose.-Of a youth distinguished by his equals.-Feebleness of its first attempts. Of genius not discoverable even in manhood.-The education of the youth may not be that of his genius.-An unsettled impulse, querulous till it finds its true occupation.-With some, curiosity as intense a faculty as invention. What the youth first applies to is commonly his delight afterwards.Facts of the decisive character of genius.

WE are entering into a fairy land, touching only shadows, and chasing the most changeable lights; many stories we shall hear, and many scenes will open on us ;yet though realities are but dimly to be traced in this twilight of imagination and tradition, we think that the first impulses of genius may be often illustrated by the subsequent actions of the individual; and whenever we find these in perfect harmony, it will be difficult to convince us that there does not exist a secret connexion between those first impulses and these last actions.

Can we then trace in the faint lines of his youth an unsteady outline of the man? In the temperament of genius may we not reasonably look for certain indications or predispositions, announcing the permanent character? Is not great sensibility born with its irritable fibres? Will not the deep retired character cling to its musings? And the unalterable being of intrepidity and fortitude, will he not, commanding even amidst his sports, lead on his equals ?—— The boyhood of CATO was marked by the sternness of the man, observable in his speech, his countenance, and his puerile amusements; and BACON, DESCARTES, HOBBES, GRAY, and others, betrayed the same early appearance of their intellectual vigour and precocity of character.

The virtuous and contemplative BOYLE imagined that he had discovered in childhood that disposition of mind which VOL. III.-4

indicated an instinctive ingenuousness. An incident which he relates, evinced, as he thought, that even then he preferred to aggravate his fault rather than consent to suppress any part of the truth, an effort which had been unnatural to his mind. His fanciful, yet striking illustration may open our inquiry. "This trivial passage," the little story alluded to, "I have mentioned now, not that I think that in itself it deserves a relation, but because as the sun is seen best at his rising and his setting, so men's native dispositions are clearliest perceived whilst they are children, and when they are dying. These little sudden actions are the greatest discoverers of men's true humours."

ALFIERI, that historian of the literary mind, was conscious that even in his childhood the peculiarity and the melancholy of his character prevailed: a boyhood passed in domestic solitude, fed the interior feelings of his impassioned character; and in noticing some incidents of a childish nature, this man of genius observes, "Whoever will reflect on these inept circumstances, and explore into the seeds of the passions of man, possibly may find these neither so laughable nor so puerile as they may appear." His native genius, or by whatever other term we may describe it, betrayed the wayward predispositions of some of his poetical brothers: "Taciturn and placid for the most part, but at times loquacious and most vivacious, and usually in the most opposite extremes; stubborn and impatient against force, but most open to kindness, more restrained by the dread of reprimand than by anything else, susceptible of shame to excess, but inflexible if violently opposed." Such is the portrait of a child of seven years old, a portrait which induced the great tragic bard to deduce this result from his own self-experience, that "man is a continuation of the child."

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* See in his Life, chap. iv., entitled Sviluppo dell indole indicato da vari fattarelli. Development of genius, or natural inclination, indicated by various little matters."

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