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ther or no the good genius strengthened it with any supernatural force, or dissipated part of the mist that was before too thick for the eye to penetrate) I saw the valley opening at the farther end, and spreading forth into an immense ocean, that had a huge rock of adamant running through the midst of it, and dividing it into two equal parts. The clouds still rested on one half of it, insomuch that I could discover nothing in it: but the other appeared to me a vast ocean planted with innumerable islands, that were covered with fruits and flowers, and interwoven with a thousand little shining seas that ran among them. I could see persons dressed in glorious
habits with garlands upon their heads, passing among the trees, lying down by the sides of fountains, or resting on beds of flowers; and could hear a confused harmony of singing birds, falling waters, human yoices, and musical instruments. Gladness grew in me upon the discovery of so delightful a scene. I wished for the wings of an eagle, that I might fly away to those happy seats; but the genius told me there was no passage to them, except through the gates of death that I saw opening every moment upon the bridge. “ The islands,” said he, « that lie so fresh and green before thee, and with which the whole face of the ocean appears spotted as far as thou canst see, are more in number than the sands on the sea-shore; there are myri. ads of islands behind those which thou here discoverest, reaching farther than thine eye, or even thine imagination can extend itself. These are the mansions of good men after death, who, according to the degree and kinds of virtue in which they excelled, are distributed among these several islands, which abound with pleaures of different kinds and degrees, suitable to the relishes
and perfections of those who are settled in them; every island is a paradise accommodated to its respective inhabitants. Are not these, O Mirza, habitations worth contending for? Does life
appear reiserable, that gives thee opportunities of earning such a reward? Is death to be feared that will convey thee to so happy an existence? Think not man was made in vain, who has such an eternity reserved for him.” I gazed with inexpressible pleasure on these happy islands. At length, said I, shew me now, I beseech thee, the secrets that lie hid under those dark clouds which cover the ocean on the other side of the rocks of ada. mant. The genius making me no answer, I turned me about to address myself to him a second time, but I found that he had left me; I then turned again to the vision which I had been so long contemplating: but instead of the rolling tide, the arched bridge, and the happy islands, I saw nothing but the long hollow valley of Bagdat, with oxen, sheep, and camels, grazing upon the sides of it.'
The end of the first vision of Mirza.
No. 160. MONDAY, SEPTEMBER 3, 1711.'
-Cui mens divinior, atque 08
Hor. 1 Sat. iv. 43.
THERE is no character more frequently given to a writer, than that of being a genius. I have heard
many a little sonnetteer called a fine genius. There is not an heroic scribbler in the nation, that has not his admirers who think him a great genius ; and as for your smatterers in tragedy, there is scarce a man among them who is not cried up by one or other for a prodigious genius.
My design in this paper is to consider what is properly a great genius, and to throw some thoughts together on so uncommon a subject.
Among great geniuses those few draw the admiration of all the world upon them, and stand up as the prodigies of mankind, who by the mere strength of natural parts, and without any assistance of art or learning have produced works that were the delight of their own times, and the wonder of posterity. There appears something nobly wild and extravagant in these great natural geniuses that is infinitely more beautiful than all turn and polishing of what the French call a bel esprit, by which they would express a genius refined by conversation, reflection, and the reading of the most polite authors. The greatest genius which runs through the arts and sciences, takes a kind of tincture from them, and falls unavoidably into imitation.
Many of these great natural geniuses that were never disciplined and broken by rules of art, are to be found among the ancients, and in particular among those of the more eastern parts of the world. Homer has innumerable flights that Virgil was not able to reach, and in the Old Testament we find several passages more elevated and sublime than any in Homer. At the same time that we allow a greater and more daring genius to the ancients, we must own that the greatest of them very much failed in, or, if you will, that they were much above the nicety and correctness of the moderns. In their similitudes and allusions, provided there was a likeness, they did not much trouble themselves about the decency of the comparison : thus Solomon resembles the nose of his beloved to the tower of Lebanon which looketh towards Damascus; as the coming of a thief in the night, is a similitude of the same kind in the New Testament. It would be endless to make collections of this nature; Homer illustrates one of his heroes encompassed with the enemy, by an ass in a field of corn that has his sides belaboured by all the boys of the village without stirring a foot for it; and another of them tossing to and fro in his bed and burning with resentment, to a piece of flesh broiled on the coals. This particular failure in the ancients, opens a large field of raillery to the little wits, who can laugh at an indecency, but not relish the sublime in these sorts of writings. The present emperor
of Persia, conformable to this eastern way of thinking, amidst a great many pompous titles, denominates himself the sun of glory,' and the nutmeg of delight.' In short, to cut off all cavilling against the ancients, and particularly those of the warmer climates, who had most heat and life in their imaginations, we are to consider that the rule of observing what the French call the bienseance in an allusion, has been found out of later years, and in the colder regions of the world : where we would make some amends for our want of force and spirit, by a scrupulous nicety and exactness in our compositions. Our countryman Shakspeare was a remarkable instance of this first kind of great geniuses.
I cannot quit this head without observing that Pindar was a great genius of the first class, who was hurried on by a natural fire and impetuosity
to vast conceptions of things and noble sallies of imagination. At the same time, can any thing be more ridiculous than for men of a sober and moderate fancy to imitate this poet's way of writing in those monstrous compositions which go among us under the name of Pindarics? When I see people copying words, which, as Horace has represented them, are singular in their kind, and inimitable; when I see men following irregularities by rule, and by the little tricks of art straining after the most unbounded flights of nature, I cannot but apply to them that passage in Te
Incerta hæc si tu postules
EUN. Act. 1. Sc. 1. You may as well pretend to be mad and in your senses at the same time, as to think of reducing these uncertain things to any certainty by reason.
In short, a modern Pindaric writer compared with Pindar, is like a sister among the Camisars* compared with Virgil's Sibyl: there is the distortion, grimace, and outward figure, but nothing of that divine impulse which raises the mind above itself, and makes the sounds more than hu
There is another kind of great geniuses which I shall place in a second class, not as I think them
* More commonly known by the name of the French Prophets, a set of enthusiasts originally of the Cevennes in France, who came into England about the year 1707, and had at first a considerable number of votaries. A fuller account of the rise and progress of this strange sect may be gained from two pamphlets, one in French intitled, 'Le Theatre sacre de Cevennes, ou Reeit de diverses Merveilles nouvellement ope. rées dans cette Partie de la Province de Languedoc. Lond. 1707, 12mo.' The other in English, viz. 'A Brand plucked from the Burning; exemplify'd in the unparalleled Case of Samuel Keimer, &c. London, 1718. 12mo.