I ran through an Italian grammar on my way across the Atlantic, and from my knowledge of Latin, Spanish, and French, I soon had a reading acquaintance with the language. I had really wanted to go to Germany, that I might carry forward my studies in German literature, and I first applied for the consulate at Munich. The powers at Washington thought it quite the same thing to offer me Rome; but I found that the income of the Roman consulate would not give me a living, and I was forced to decline it. Then the President's private secretaries, Mr. John Nicolay and Mr.

John Hay, who did not know me except as a young Westerner who had written poems in the Atlantic Monthly, asked me how I would like Venice, and promised that they would have the salary put up to a thousand a year, under the new law to embarra.s.s privateers. It was really put up to fifteen hundred, and with this income a.s.sured me I went out to the city whose influence changed the whole course of my literary life.

No privateers ever came, though I once had notice from Turin that the Florida had been sighted off Ancona; and I had nearly four years of nearly uninterrupted leisure at Venice, which I meant to employ in reading all Italian literature, and writing a history of the republic.

The history, of course, I expected would be a long affair, and I did not quite suppose that I could despatch the literature in any short time; besides, I had several considerable poems on hand that occupied me a good deal, and worked at these as well as advanced myself in Italian, preparatory to the efforts before me.

I had already a slight general notion of Italian letters from Leigh Hunt, and from other agreeable English Italianates; and I knew that I wanted to read not only the four great poets, Dante, Petrarch, Ariosto, and Ta.s.so, but that whole group of burlesque poets, Pulci, Berni, and the rest, who, from what I knew of them, I thought would be even more to my mind. As a matter of fact, and in the process of time, I did read somewhat of all these, but rather in the minor than the major way; and I soon went off from them to the study of the modern poets, novelists, and playwrights who interested me so much more. After my wonted fashion I read half a dozen of these authors together, so that it would be hard to say which I began with, but I had really a devotion to Dante, though not at that time, or ever for the whole of Dante. During my first year in Venice I met an ingenious priest, who had been a tutor in a patrician family, and who was willing to lead my faltering steps through the "Inferno." This part of the "Divine Comedy" I read with a beginner's carefulness, and with a rapture in its beauties, which I will whisper the reader do not appear in every line.

Again I say it is a great pity that criticism is not honest about the masterpieces of literature, and does not confess that they are not every moment masterly, that they are often dull and tough and dry, as is certainly the case with Dante's. Some day, perhaps, we shall have this way of treating literature, and then the lover of it will not feel obliged to browbeat himself into the belief that if he is not always enjoying himself it is his own fault. At any rate I will permit myself the luxury of frankly saying that while I had a deep sense of the majesty and grandeur of Dante's design, many points of its execution bored me, and that I found the intermixture of small local fact and neighborhood history in the fabric of his lofty creation no part of its n.o.blest effect. What is marvellous in it is its expression of Dante's personality, and I can never think that his personalities enhance its greatness as a work of art. I enjoyed them, however, and I enjoyed them the more, as the innumerable perspectives of Italian history began to open all about me. Then, indeed, I understood the origins if I did not understand the aims of Dante, which there is still much dispute about among those who profess to know them clearly. What I finally perceived was that his poem came through him from the heart of Italian life, such as it was in his time, and that whatever it teaches, his poem expresses that life, in all its splendor and squalor, its beauty and deformity, its love and its hate.

Criticism may torment this sense or that sense out of it, but at the end of the ends the "Divine Comedy" will stand for the patriotism of medieval Italy, as far as its ethics is concerned, and for a profound and lofty ideal of beauty, as far as its aesthetics is concerned. This is vague enough and slight enough, I must confess, but I must confess also that I had not even a conception of so much when I first read the "Inferno." I went at it very simply, and my enjoyment of it was that sort which finds its account in the fine pa.s.sages, the brilliant episodes, the striking pictures. This was the effect with me of all the criticism which I had hitherto read, and I am not sure yet that the criticism which tries to be of a larger scope, and to see things "whole,"

is of any definite effect. As a matter of fact we see nothing whole, neither life nor art. We are so made, in soul and in sense, that we can deal only with parts, with points, with degrees; and the endeavor to compa.s.s any entirety must involve a discomfort and a danger very threatening to our intellectual integrity.

Or if this postulate is as untenable as all the others, still I am very glad that I did not then lose any fact of the majesty, and beauty, and pathos of the great certain measures for the sake of that fourth dimension of the poem which is not yet made palpable or visible. I took my sad heart's fill of the sad story of "Paolo and Francesca," which I already knew in Leigh Hunt's adorable dilution, and most of the lines read themselves into my memory, where they linger yet. I supped on the horrors of Ugolino's fate with the strong gust of youth, which finds every exercise of sympathy a pleasure. My good priest sat beside me in these rich moments, knotting in his lap the calico handkerchief of the snuff-taker, and entering with tremulous eagerness into my joy in things that he had often before enjoyed. No doubt he had an inexhaustible pleasure in them apart from mine, for I have found my pleasure in them perennial, and have not failed to taste it as often as I have read or repeated any of the great pa.s.sages of the poem to myself. This pleasure came often from some vital phrase, or merely the inspired music of a phrase quite apart from its meaning. I did not get then, and I have not got since, a distinct conception of the journey through h.e.l.l, and as often as I have tried to understand the topography of the poem I have fatigued myself to no purpose, but I do not think the essential meaning was lost upon me.

I dare say my priest had his notion of the general shape and purport, the gross material body of the thing, but he did not trouble me with it, while we sat tranced together in the presence of its soul. He seemed, at times, so lost in the beatific vision, that he forgot my stumblings in the philological darkness, till I appealed to him for help. Then he would read aloud with that magnificent rhythm the Italians have in reading their verse, and the obscured meaning would seem to shine out of the mere music of the poem, like the color the blind feel in sound.

I do not know what has become of him, but if he is like the rest of the strange group of my guides, philosophers, and friends in literature--the printer, the organ-builder, the machinist, the drug-clerk, and the bookbinder--I am afraid he is dead. In fact, I who was then I, might be said to be dead too, so little is my past self like my present self in anything but the "increasing purpose" which has kept me one in my love of literature. He was a gentle and kindly man, with a life and a longing, quite apart from his vocation, which were never lived or fulfilled.

I did not see him after he ceased to read Dante with me, and in fact I was instructed by the suspicions of my Italian friends to be careful how I consorted with a priest, who might very well be an Austrian spy.

I parted with him for no such picturesque reason, for I never believed him other than the truest and faithfulest of friends, but because I was then giving myself more entirely to work in which he could not help me.

Naturally enough this was a long poem in the terza rima of the "Divina Commedia," and dealing with a story of our civil war in a fashion so remote that no editor would print it. This was the first fruits and the last of my reading of Dante, in verse, and it was not so like Dante as I would have liked to make it; but Dante is not easy to imitate; he is too unconscious, and too single, too bent upon saying the thing that is in him, with whatever beauty inheres in it, to put on the graces that others may catch.

XXIX. GOLDONI, MANZONI, D'AZEGLIO

However, this poem only shared the fate of nearly, all the others that I wrote at this time; they came back to me with unfailing regularity from all the magazine editors of the English-speaking world; I had no success with any of them till I sent Mr. Lowell a paper on recent Italian comedy for the North American Review, which he and Professor Norton had then begun to edit. I was in the mean time printing the material of Venetian Life and the Italian Journeys in a Boston newspaper after its rejection by the magazines; and my literary life, almost without my willing it, had taken the course of critical observance of books and men in their actuality.

That is to say, I was studying manners, in the elder sense of the word, wherever I could get at them in the frank life of the people about me, and in such literature of Italy as was then modern. In this pursuit I made a discovery that greatly interested me, and that specialized my inquiries. I found that the Italians had no novels which treated of their contemporary life; that they had no modern fiction but the historical romance. I found that if I wished to know their life from their literature I must go to their drama, which was even then endeavoring to give their stage a faithful picture of their civilization. There was even then in the new circ.u.mstance of a people just liberated from every variety of intellectual repression and political oppression, a group of dramatic authors, whose plays were not only delightful to see but delightful to read, working in the good tradition of one of the greatest realists who has ever lived, and producing a drama of vital strength and charm. One of them, whom I by no means thought the best, has given us a play, known to all the world, which I am almost ready to think with Zola is the greatest play of modern times; or if it is not so, I should be puzzled to name the modern drama that surpa.s.ses "La Morte Civile" of Paolo Giacometti. I learned to know all the dramatists pretty well, in the whole range of their work, on the stage and in the closet, and I learned to know still better, and to love supremely, the fine, amiable genius whom, as one of them said, they did not so much imitate as learn from to imitate nature.

This was Carlo Goldoni, one of the first of the realists, but antedating conscious realism so long as to have been born at Venice early in the eighteenth century, and to have come to his hand-to-hand fight with the romanticism of his day almost before that century had reached its noon.

In the early sixties of our own century I was no more conscious of his realism than he was himself a hundred years before; but I had eyes in my head, and I saw that what he had seen in Venice so long before was so true that it was the very life of Venice in my own day; and because I have loved the truth in art above all other things, I fell instantly and lastingly in love with Carlo Goldoni. I was reading his memoirs, and learning to know his sweet, honest, simple nature while I was learning to know his work, and I wish that every one who reads his plays would read his life as well; one must know him before one can fully know them. I believe, in fact, that his autobiography came into my hands first. But, at any rate, both are a.s.sociated with the fervors and languors of that first summer in Venice, so that I cannot now take up a book of Goldoni's without a renewed sense of that sunlight and moonlight, and of the sounds and silences of a city that is at once the stillest and shrillest in the world.

Perhaps because I never found his work of great ethical or aesthetical proportions, but recognized that it pretended to be good only within its strict limitations, I recur to it now without that painful feeling of a diminished grandeur in it, which attends us so often when we go back to something that once greatly pleased us. It seemed to me at the time that I must have read all his comedies in Venice, but I kept reading new ones after I came home, and still I can take a volume of his from the shelf, and when thirty years are past, find a play or two that I missed before.

Their number is very great, but perhaps those that I fancy I have not read, I have really read once or more and forgotten. That might very easily be, for there is seldom anything more poignant in any one of them than there is in the average course of things. The plays are light and amusing transcripts from life, for the most part, and where at times they deepen into powerful situations, or express strong emotions, they do so with persons so little different from the average of our acquaintance that we do not remember just who the persons are.

There is no doubt but the kindly playwright had his conscience, and meant to make people think as well as laugh. I know of none of his plays that is of wrong effect, or that violates the instincts of purity, or insults common sense with the romantic pretence that wrong will be right if you will only paint it rose-color. He is at some obvious pains to "punish vice and reward virtue," but I do not mean that easy morality when I praise his; I mean the more difficult sort that recognizes in each man's soul the arbiter not of his fate surely, but surely of his peace. He never makes a fool of the spectator by feigning that pa.s.sion is a reason or justification, or that suffering of one kind can atone for wrong of another. That was left for the romanticists of our own century to discover; even the romanticists whom Goldoni drove from the stage, were of that simpler eighteenth-century sort who had not yet liberated the individual from society, but held him accountable in the old way. As for Goldoni himself, he apparently never dreams of transgression; he is of rather an explicit conventionality in most things, and he deals with society as something finally settled. How artfully he deals with it, how decently, how wholesomely, those who know Venetian society of the eighteenth century historically, will perceive when they recall the adequate impression he gives of it without offence in character or language or situation. This is the perpetual miracle of his comedy, that it says so much to experience and worldly wisdom, and so little to inexperience and worldly innocence. No doubt the Serenest Republic was very strict with the theatre, and suffered it to hold the mirror up to nature only when nature was behaving well, or at least behaving as if young people were present. Yet the Italians are rather plain-spoken, and they recognize facts which our company manners at least do not admit the existence of. I should say that Goldoni was almost English, almost American, indeed, in his observance of the proprieties, and I like this in him; though the proprieties are not virtues, they are very good things, and at least are better than the improprieties.

This, however, I must own, had not a great deal to do with my liking him so much, and I should be puzzled to account for my pa.s.sion, as much in his case as in most others. If there was any reason for it, perhaps it was that he had the power of taking me out of my life, and putting me into the lives of others, whom I felt to be human beings as much as myself. To make one live in others, this is the highest effect of religion as well as of art, and possibly it will be the highest bliss we shall ever know. I do not pretend that my translation was through my unselfishness; it was distinctly through that selfishness which perceives that self is misery; and I may as well confess here that I do not regard the artistic ecstasy as in any sort n.o.ble. It is not n.o.ble to love the beautiful, or to live for it, or by it; and it may even not be refining.

I would not have any reader of mine, looking forward to some aesthetic career, suppose that this love is any merit in itself; it may be the grossest egotism. If you cannot look beyond the end you aim at, and seek the good which is not your own, all your sacrifice is to yourself and not of yourself, and you might as well be going into business. In itself and for itself it is no more honorable to win fame than to make money, and the wish to do the one is no more elevating than the wish to do the other.

But in the days I write of I had no conception of this, and I am sure that my blindness to so plain a fact kept me even from seeking and knowing the highest beauty in the things I worshipped. I believe that if I had been sensible of it I should hays read much more of such humane Italian poets and novelists as Manzoni and D'Azeglio, whom I perceived to be delightful, without dreaming of them in the length and breadth of their goodness. Now and then its extent flashed upon me, but the glimpse was lost to my retroverted vision almost as soon as won. It is only in thinking back to there that I can realize how much they might always have meant to me. They were both living in my time in Italy, and they were two men whom I should now like very much to have seen, if I could have done so without that futility which seems to attend every effort to pay one's duty to such men.

The love of country in all the Italian poets and romancers of the long period of the national resurrection enn.o.bled their art in a measure which criticism has not yet taken account of. I conceived of its effect then, but I conceived of it as a misfortune, a fatality; now I am by no means sure that it was so; hereafter the creation of beauty, as we call it, for beauty's sake, may be considered something monstrous. There is forever a poignant meaning in life beyond what mere living involves, and why should not there be this reference in art to the ends beyond art?

The situation, the long patience, the hope against hope, dignified and beautified the nature of the Italian writers of that day, and evoked from them a quality which I was too little trained in their school to appreciate. But in a sort I did feel it, I did know it in them all, so far as I knew any of them, and in the tragedies of Manzoni, and in the romances of D'Azeglio, and yet more in the simple and modest records of D'Azeglio's life published after his death, I profited by it, and unconsciously prepared myself for that point of view whence all the arts appear one with all the uses, and there is nothing beautiful that is false.

I am very glad of that experience of Italian literature, which I look back upon as altogether wholesome and sanative, after my excesses of Heine. No doubt it was all a minor affair as compared with equal knowledge of French literature, and so far it was a loss of time. It is idle to dispute the general positions of criticism, and there is no useful gainsaying its judgment that French literature is a major literature and Italian a minor literature in this century; but whether this verdict will stand for all time, there may be a reasonable doubt.

Criterions may change, and hereafter people may look at the whole affair so differently that a literature which went to the making of a people will not be accounted a minor literature, but will take its place with the great literary movements.

I do not insist upon this possibility, and I am far from defending myself for liking the comedies of Goldoni better than the comedies of Moliere, upon purely aesthetic grounds, where there is no question as to the artistic quality. Perhaps it is because I came to Moliere's comedies later, and with my taste formed for those of Goldoni; but again, it is here a matter of affection; I find Goldoni for me more sympathetic, and because he is more sympathetic I cannot do otherwise than find him more natural, more true. I will allow that this is vulnerable, and as I say, I do not defend it. Moliere has a place in literature infinitely loftier than Goldoni's; and he has supplied types, characters, phrases, to the currency of thought, and Goldoni has supplied none. It is, therefore, without reason which I can allege that I enjoy Goldoni more. I am perfectly willing to be rated low for my preference, and yet I think that if it had been Goldoni's luck to have had the great age of a mighty monarchy for his scene, instead of the decline of an outworn republic, his place in literature might have been different.

x.x.x. "PASTOR FIDO," "AMINTA," "ROMOLA," "YEAST," "PAUL FERROLL"

I have always had a great love for the absolutely unreal, the purely fanciful in all the arts, as well as of the absolutely real; I like the one on a far lower plane than the other, but it delights me, as a pantomime at a theatre does, or a comic opera, which has its being wholly outside the realm of the probabilities. When I once transport myself to this sphere I have no longer any care for them, and if I could I would not exact of them an allegiance which has no concern with them. For this reason I have always vastly enjoyed the artificialities of pastoral poetry; and in Venice I read with a pleasure few serious poems have given me the "Pastor Fido" of Guarini. I came later but not with fainter zest to the "Aminta" of Ta.s.so, without which, perhaps, the "Pastor Fido" would not have been, and I revelled in the pretty impossibilities of both these charming effects of the liberated imagination.

I do not the least condemn that sort of thing; one does not live by sweets, unless one is willing to spoil one's digestion; but one may now and then indulge one's self without harm, and a sugar-plum or two after dinner may even be of advantage. What I object to is the romantic thing which asks to be accepted with all its fantasticality on the ground of reality; that seems to me hopelessly bad. But I have been able to dwell in their charming out-land or no-land with the shepherds and shepherdesses and nymphs, satyrs, and fauns, of Ta.s.so and Guarini, and I take the finest pleasure in their company, their Dresden china loves and sorrows, their airy raptures, their painless throes, their polite anguish, their tears not the least salt, but flowing as sweet as the purling streams of their enamelled meadows. I wish there were more of that sort of writing; I should like very much to read it.

The greater part of my reading in Venice, when I began to find that I could not help writing about the place, was in books relating to its life and history, which I made use of rather than found pleasure in. My studies in Italian literature were full of the most charming interest, and if I had to read a good many books for conscience' sake, there were a good many others I read for their own sake. They were chiefly poetry; and after the first essays in which I tasted the cla.s.sic poets, they were chiefly the books of the modern poets.

For the present I went no farther in German literature, and I recurred to it in later years only for deeper and fuller knowledge of Heine; my Spanish was ignored, as all first loves are when one has reached the age of twenty-six. My English reading was almost wholly in the Tauchnitz editions, for otherwise English books were not easily come at then and there. George Eliot's 'Romola' was then new, and I read it again and again with the sense of moral enlargement which the first fiction to conceive of the true nature of evil gave all of us who were young in that day. t.i.to Malema was not only a lesson, he was a revelation, and I trembled before him as in the presence of a warning and a message from the only veritable perdition. His life, in which so much that was good was mixed, with so much that was bad, lighted up the whole domain of egotism with its glare, and made one feel how near the best and the worst were to each other, and how they sometimes touched without absolute division in texture and color. The book was undoubtedly a favorite of mine, and I did not see then the artistic falterings in it which were afterwards evident to me.

There were not Romolas to read all the time, though, and I had to devolve upon inferior authors for my fiction the greater part of the time. Of course, I kept up with 'Our Mutual Friend,' which d.i.c.kens was then writing, and with 'Philip,' which was to be the last of Thackeray. I was not yet sufficiently instructed to appreciate Trollope, and I did not read him at all.

I got hold of Kingsley, and read 'Yeast,' and I think some other novels of his, with great relish, and without sensibility to his Charles Readeish lapses from his art into the material of his art. But of all the minor fiction that I read at this time none impressed me so much as three books which had then already had their vogue, and which I knew somewhat from reviews. They were Paul Ferroll, 'Why Paul Ferroll Killed His Wife,' and 'Day after Day.' The first two were, of course, related to each other, and they were all three full of unwholesome force. As to their aesthetic merit I will not say anything, for I have not looked at either of the books for thirty years. I fancy, however, that their strength was rather of the tetanic than the t.i.tanic sort. They made your sympathies go with the hero, who deliberately puts his wife to death for the lie she told to break off his marriage with the woman he had loved, and who then marries this tender and gentle girl, and lives in great happiness with her till her death. Murder in the first degree is flattered by his fate up to the point of letting him die peacefully in Boston after these dealings of his in England; and altogether his story could not be commended to people with a morbid taste for bloodshed.

Naturally enough the books were written by a perfectly good woman, the wife of an English clergyman, whose friends were greatly scandalized by them. As a sort of atonement she wrote 'Day after Day,' the story of a dismal and joyless orphan, who dies to the sound of angelic music, faint and farheard, filling the whole chamber. A carefuller study of the phenomenon reveals the fact that the seraphic strains are produced by the steam escaping from the hot-water bottles at the feet of the invalid.

As usual, I am not able fully to account for my liking of these books, and I am so far from wishing to justify it that I think I ought rather to excuse it. But since I was really greatly fascinated with them, and read them with an evergrowing fascination, the only honest thing to do is to own my subjection to them. It would be an interesting and important question for criticism to study, that question why certain books at a.

certain time greatly dominate our fancy, and others manifestly better have no influence with us. A curious proof of the subtlety of these Paul Ferroll books in the appeal they made to the imagination is the fact that I came to them fresh from 'Romolo,' and full of horror for myself in t.i.to; yet I sympathized throughout with Paul Ferroll, and was glad when he got away.

x.x.xI. ERCKMANN-CHATRIAN, BJORSTJERNE BJORNSON

On my return to America, my literary life immediately took such form that most of my reading was done for review. I wrote at first a good many of the lighter criticisms in 'The Nation', at New York, and after I went to Boston to become the a.s.sistant editor of the 'Atlantic Monthly' I wrote the literary notices in that periodical for four or five years.

It was only when I came into full charge of the magazine that I began to share these labors with others, and I continued them in some measure as long as I had any relation to it. My reading for reading's sake, as I had hitherto done it, was at an end, and I read primarily for the sake of writing about the book in hand, and secondarily for the pleasure it might give me. This was always considerable, and sometimes so great that I forgot the critic in it, and read on and on for pleasure. I was master to review this book or that as I chose, and generally I reviewed only books I liked to read, though sometimes I felt that I ought to do a book, and did it from a sense of duty; these perfunctory criticisms I do not think were very useful, but I tried to make them honest.

In a long sickness, which I had shortly after I went to live in Cambridge, a friend brought me several of the stories of Erckmann- Chatrian, whom people were then reading much more than they are now, I believe; and I had a great joy in them, which I have renewed since as often as I have read one of their books. They have much the same quality of simple and sincerely moralized realism that I found afterwards in the work of the early Swiss realist, Jeremias Gotthelf, and very likely it was this that captivated my judgment. As for my affections, battered and exhausted as they ought to have been in many literary pa.s.sions, they never went out with fresher enjoyment than they did to the charming story of 'L'Ami Fritz,' which, when I merely name it, breathes the spring sun and air about me, and fills my senses with the beauty and sweetness of cherry blossoms. It is one of the loveliest and kindest books that ever was written, and my heart belongs to it still; to be sure it belongs to several hundreds of other books in equal entirety.

It belongs to all the books of the great Norwegian Bjorstjerne Bjornson, whose 'Arne,' and whose 'Happy Boy,' and whose 'Fisher Maiden' I read in this same fortunate sickness. I have since read every other book of his that I could lay hands on: 'Sinnove Solbakken,' and 'Magnhild,' and 'Captain Manzanca,' and 'Dust,' and 'In G.o.d's Ways,' and 'Sigurd,' and plays like "The Glove" and "The Bankrupt." He has never, as some authors have, dwindled in my sense; when I open his page, there I find him as large, and free, and bold as ever. He is a great talent, a clear conscience, a beautiful art. He has my love not only because he is a poet of the most exquisite verity, but because he is a lover of men, with a faith in them such as can move mountains of ignorance, and dulness, and greed. He is next to Tolstoy in his willingness to give himself for his kind; if he would rather give himself in fighting than in suffering wrong, I do not know that his self-sacrifice is less in degree.

I confess, however, that I do not think of him as a patriot and a socialist when I read him; he is then purely a poet, whose gift holds me rapt above the world where I have left my troublesome and wearisome self for the time. I do not know of any novels that a young endeavorer in fiction could more profitably read than his for their large and simple method, their trust of the reader's intelligence, their sympathy with life. With him the problems are all soluble by the enlightened and regenerate will; there is no baffling Fate, but a helping G.o.d. In Bjornson there is nothing of Ibsen's scornful despair, nothing of his anarchistic contempt, but his art is full of the warmth and color of a poetic soul, with no touch of the icy cynicism which freezes you in the other. I have felt the cold fascination of Ibsen, too, and I should be far from denying his mighty mastery, but he has never possessed me with the delight that Bjornson has.

In those days I read not only all the new books, but I made many forays into the past, and came back now and then with rich spoil, though I confess that for the most part I had my trouble for my pains; and I wish now that I had given the time I spent on the English cla.s.sics to contemporary literature, which I have not the least hesitation in saying I like vastly better. In fact, I believe that the preference for the literature of the past, except in the case of the greatest masters, is mainly the affectation of people who cannot otherwise distinguish themselves from the herd, and who wish very much to do so.

There is much to be learned from the minor novelists and poets of the past about people's ways of thinking and feeling, but not much that the masters do not give you in better quality and fuller measure; and I should say, Read the old masters and let their schools go, rather than neglect any possible master of your own time. Above all, I would not have any one read an old author merely that he might not be ignorant of him; that is most beggarly, and no good can come of it. When literature becomes a duty it ceases to be a pa.s.sion, and all the schoolmastering in the world, solemnly addressed to the conscience, cannot make the fact otherwise. It is well to read for the sake of knowing a certain ground if you are to make use of your knowledge in a certain way, but it would be a mistake to suppose that this is a love of literature.

x.x.xII. TOURGUENIEF, AUERBACH

In those years at Cambridge my most notable literary experience without doubt was the knowledge of Tourguenief's novels, which began to be recognized in all their greatness about the middle seventies. I think they made their way with such of our public as were able to appreciate them before they were accepted in England; but that does not matter. It is enough for the present purpose that 'Smoke,' and 'Lisa,' and 'On the Eve,' and 'Dimitri Roudine,' and 'Spring Floods,' pa.s.sed one after another through my hands, and that I formed for their author one of the profoundest literary pa.s.sions of my life.