Literary Character of Men of Genius Drawn from Their Own Feelings and Confessions

Of Literary Characters, and of the Lovers of Literature and Art.

Diffused over enlightened Europe, an order of men has arisen, who, uninfluenced by the interests or the passions which give an impulse to the other classes of society, are connected by the secret links of congenial pursuits, and, insensibly to themselves, are combining in the same common labours, and participating in the same divided glory. In the metropolitan cities of Europe the same authors are now read, and the same opinions become established: the Englishman is familiar with Machiavel and Montesquieu; the Italian and the Frenchman with Bacon and Locke; and the same smiles and tears are awakened on the banks of the Thames, of the Seine, or of the Guadalquivir, by Shakspeare, Molière, and Cervantes-

Contemporains de tous les hommes,

Et citoyens de tous les lieux.

A khan of Tartary admired the wit of Molière, and discovered the Tartuffe in the Crimea; and had this ingenious sovereign survived the translation which he ordered, the immortal labour of the comic satirist of France might have laid the foundation of good taste even among the Turks and the Tartars. We see the Italian Pignotti referring to the opinion of an English critic, Lord Bolingbroke, for decisive authority on the peculiar characteristics of the historian Guicciardini: the German Schlegel writes on our Shakspeare like a patriot; and while the Italians admire the noble scenes which our Flaxman has drawn from their great poet, they have rejected the feeble attempts of their native artists. Such is the wide and the perpetual influence of this living intercourse of literary minds.

Scarcely have two centuries elapsed since the literature of every nation was limited to its fatherland, and men of genius long could only hope for the spread of their fame in the single language of ancient Rome; which for them had ceased to be natural, and could never be popular. It was in the intercourse of the wealth, the power, and the novel arts of the nations of Europe, that they learned each other's languages; and they discovered that, however their manners varied as they arose from their different customs, they participated in the same intellectual faculties, suffered from the same wants, and were alive to the same pleasures; they perceived that there were no conventional fashions, nor national distinctions, in abstract truths and fundamental knowledge. A new spirit seems to bring them nearer to each other: and, as if literary Europe were intent to form but one people out of the populace of mankind, they offer their reciprocal labours; they pledge to each other the same opinions; and that knowledge which, like a small river, takes its source from one spot, at length mingles with the ocean-stream common to them all.

But those who stand connected with this literary community are not always sensible of the kindred alliance; even a genius of the first order has not always been aware that he is the founder of a society, and that there will ever be a brotherhood where there is a father-genius.

These literary characters are partially, and with a melancholy colouring, exhibited by JOHNSON. "To talk in private, to think in solitude, to inquire or to answer inquiries, is the business of a scholar. He wanders about the world without pomp or terror; and is neither known nor valued but by men like himself." Thus thought this great writer during those sad probationary years of genius when

Slow rises worth, by poverty depress'd;

not yet conscious that he himself was devoting his days to cast the minds of his contemporaries and of the succeeding age in the mighty mould of his own; JOHNSON was of that order of men whose individual genius becomes that of a people. A prouder conception rose in the majestic mind of MILTON, of "that lasting fame and perpetuity of praise which God and good men have consented shall be the reward of those whose PUBLISHED LABOURS advanced the good of mankind."

The LITERARY CHARACTER is a denomination which, however vague, defines the pursuits of the individual, and separates him from other professions, although it frequently occurs that he is himself a member of one. Professional characters are modified by the change of manners, and are usually national; while the literary character, from the objects in which it concerns itself, retains a more permanent, and necessarily a more independent nature.

Formed by the same habits, and influenced by the same motives, notwithstanding the contrast of talents and tempers, and the remoteness of times and places, the literary character has ever preserved among its followers the most striking family resemblance. The passion for study, the delight in books, the desire of solitude and celebrity, the obstructions of human life, the character of their pursuits, the uniformity of their habits, the triumphs and the disappointments of literary glory, were as truly described by CICERO and the younger PLINY as by PETRARCH and ERASMUS, and as they have been by HUME and GIBBON. And this similarity, too, may equally be remarked with respect to that noble passion of the lovers of literature and of art for collecting together their mingled treasures; a thirst which was as insatiable in ATTICUS and PEIRESC as in our CRACHERODE and TOWNLEY.[A] We trace the feelings of our literary contemporaries in all ages, and among every people who have ranked with nations far advanced in civilization; for among these may be equally observed both the great artificers of knowledge and those who preserve unbroken the vast chain of human acquisitions. The one have stamped the images of their minds on their works, and the others have preserved the circulation of this intellectual coinage, this

-Gold of the dead,

Which Time does still disperse, but not devour.

[Footnote A: The Rev. C.M. Cracherode bequeathed at his death, in 1799, to the British Museum, the large collection of literature, art, and virtu he had employed an industrious life in collecting. His books numbered nearly 4500 volumes, many of great rarity and value. His drawings, many by early Italian masters, and all rare or curious, were deposited in the print-room of the same establishment; his antiquities, &c. were in a similar way added to the other departments. The "Townley Gallery" of classic sculpture was purchased of his executors by Government for 28,200_l_. It had been collected with singular taste and judgment, as well as some amount of good fortune also; Townley resided at Rome during the researches on the site of Hadrian's Villa at Tivoli; and he had for aids and advisers Sir William Hamilton, Gavin Hamilton, and other active collectors; and was the friend and correspondent of D'Haucarville and Winckelmann.-ED.]