THE LADIES' REPOSITORY. 14440 CINCINNATI, FEBRUARY, 1841. Original. WORKS OF TASTE. BY L. L. HAMLINE. "Novels on novels-shelves on shelves arise, The theme should be instructive and entertaining. This is so apparent that it ought to need no confirmation. Yet in opening a volume for the evening's entertainment, how many persons are utterly regardless of utility. If they can rouse their minds to a state of agreeable excitement, it is all one to them what principles are inculcated, what sentiments, pure or impure, are wrought into their own moral constitutions. Whether the writer's theme be grave or trifling-suited to entertain the wise or to amuse the idiotic, they do THE rose and the rainbow-would they be equally not pause to inquire. Whether, indeed, there be a attractive with any other names? For one, I doubt it. theme at all, or a moral of any sort-whether any parI know it is said there is nothing in a name; but ex- ticular virtue be vindicated or vice impugned, it matters perience contradicts the proverb. If those ferocious not to them, so that the incidents are either comic words, tiger and crocodile, had been used to designate or tragic enough to kindle some of their passions the dove and the lamb, the taste of succeeding gener-into a flame, and feed the lighted fires. And let me ations would have lothed the sacrilege. And this can inquire if it is an element of good taste in any producbe accounted for. Even since the fall, man retains ation of the pen, that it treats of nothing—that the wriportion of that intuitive sagacity by which Adam dis-ter proceeds through a whole volume without a theme cerned the nature of every species of animal, and gave to each a name significant of its properties. to discuss, and without conducting the reader to a solitary conclusion which contains either the instruction or the warning of sound moral? Would the orator be tolerated who should thus deal with an intelligent Names misapplied have produced serious evils. To this, in part, we may trace the fall and ruin of mankind; for the temptation in paradise was by a deceit-assembly? If not, why do we call that taste in written ful use of words. Misnomers of every sort may be ascribed to ignorance, to hypocrisy, or to levity. If such is their impure origin, how can their influence on public morals be wholesome or even harmless? compositions, which would be insufferable from the lips of a speaker? Judged by a reasonable standard, no book, without an impropriety of speech, can be called "a work of taste," unless its theme blend instruction with entertainment. As an instance of the perversion of words, and of its detrimental consequences, I adduce the phrase, Another element of taste in the productions of the "works of taste," which is now chiefly used as a gen-pen is boldness and originality of thought. These are eric designation of novels, romances, plays, and all kindred qualities. They are not often separated; besorts of prolusive composition-such as does not em- cause the intellectual energy and enterprise which are brace the solid, the religious, or the grave. The man necessary to either, compass both. Moreover, both are or woman who originated the application of that exceedingly agreeable to the reader. Bold thoughts are phrase to such trivial productions, may have been less like sublime scenery in nature-like the grandeur of wicked than Satan or not so mischievous as Eve; but the mountain, the cataract, or the storm. If original as no finite mind can estimate the injury which has re-well as bold, they impress the mind with still greater sulted to society from an invention so perverse. How surprise and delight—as magnificent scenery, when first many fictions owe half their popularity to this deceit- discovered, bursts upon the senses with ten-fold effect. ful christening. How many grave resolutions formed In all works of taste there is much true poetry; for in closet solitude, and fortified by weeping supplica- || nothing is so purely poetical as bold conceptions flowtions for heavenly strength and succor, have yielded to the appeal-"What? not read works of taste!" When argument has failed, such an exclamation has persuaded even the religious that not to read the light productions of the age would be absolutely barbarous. To disabuse the serious of this mistaken sentiment, I propose to institute a brief inquiry relative to real works of taste. In the first place, let us fix on the attributes of such works. These are, a well selected theme, boldness and originality of thought, judicious arrangement, and the various graces of style or expression. Vol. I-5 ing from an inventive imagination, and exhibited in an appropriate dress. These are what Horace discribes as essential qualities of poetic composition; 66 "Ingenium cui sit, cui mens divinior, atque os Magna sonaturum; des nominis hujus honorem." "Ingenium”—a rich "invention”—is that creative power which exists in a fervid, bold imagination. "Mens divinior"-by which he probably means a quick sensibility (called divine, for its excellence) to the charms of animate and inanimate being, and also a certain [divine] sympathy in the interests and happiness of God's creatures, which enables a writer to enter into the affections and passions of others, so as to describe and imitate them. Without this sensibility, no speaker or writer can clearly conceive the affections and actions which he would delineate. But according to Horace the poet must also have the "os magna sonaturum”—that is, the "power of expression," or the flow and force of language. Not to dwell at present on this flow of words, I would insist that the ingenium or invention, which Horace deems so essential to the poet, is equally indispensable to all good writing, and that it is richly displayed in every work of taste. issues, may appropriate to his exclusive benefit the Language is the gift of God. He made man's mouth, bestowed the power of articulation, and as the early confess that it is one of the greatest calamities of the age. These remarks sufficiently illustrate the essential characteristics of works of taste, viz., a theme which blends utility with entertainment-boldness and originality of thought, judicious arrangement and the graces of language. Another characteristic of works of taste, is an order-instructor of our race, taught its Patriarch how to exerly, judicious arrangement. The different parts of a cise that power. Written language is also from Heaven. tasteful composition bear an intimate relation to each The finger of God, on tables of stone, wrought the earother; and in the structure of the whole, each part, like liest inscription, and the ancient books of the Old Testhe timbers in an edifice, is carefully fitted to its place. || tament, written by his amanuenses, are the fruits of the A love of order is impressed on the human constitution; || first lessons taken by mankind. In the composition of and the natural relish is cultivated by correct education. the Bible, the Divine Spirit has taught us, that the Every branch of study strengthens within us this love graces of language may be properly employed to embelof order. Even the pursuits of life, such as the labors lish truths the most solemn and sacred, and add attracof husbandry and operative mechanism, have the same tions to the livery in which they are revealed. Then effect; for these are prosecuted systematically and with | let it not be supposed that by naming the graces of lana careful regard to method. In her domestic arrange-guage as one of the attributes of tasteful composition, ments, the good housewife is daily practicing the same I concede any thing to the spirit of novel reading. regimen, and nothing is more offensive to her sense of || Heaven forbid that, to a spirit so essentially impure and domestic propriety, than to detect disorder in her house-anti-christian, any thing should be conceded, except to hold affairs. I might go farther still, and descending in the scale of being, might claim that heaven is so partial to order, that an instinctive observance of it has been imposed on brutes and on the smallest insects, so that the beaver, the ant and the bee are, in their habits, beautiful illustrations of its utility and comeliness. Nay, even the inanimate creation is subject to order. The But where can these characteristics be found? Are petals of the gentlest floweret that drinks in the sun- they more frequently blended in what are popularly debeams, betoken that the Creator has impressed this law | nominated works of taste, or in those of a graver characof order upon all, even the minutest of his works. And ter? Some of them are common to both. Bold concepif God loves order, and has imparted the same affection|tion, discreet method, and forcible and elegant expression to his creatures, rational, irrational, and senseless, the || are exhibited in treatises on science and religion, and productions of the human mind, above all, ought to also in skillfully-wrought fiction, whether epic, dramatic, reveal its symmetry and charms. The fruits of man's or in the form of simple narrative. The inquiry theremechanical skill bear the impress of order. How much fore must be carried farther, if we would fix on real more should the productions of his mind, which are works of taste. Which class of writings, the light or designed to be immortal, exhibit a solicitous regard to the grave, blends with the above attributes the first in the harmony and beauty of just arrangement. This our enumeration, viz., a well selected theme? Cerattribute is indispensable to real works of taste; and fortainly the grave; so that in this respect the serious wriits absence nothing can atone. It matters not how much genius is displayed in other forms, unless it is successful in so collocating the several parts of a treatise or discourse as to render distinct their mutual dependence, and preserve what rhetoricians denominate unity. The graces of language belong to works of taste. By some this may be deemed a concession to the spirit of a novel reading age; but I am persuaded otherwise. And I invite all who suspect me of this moral laxity to deliberate a little. In the sequel they may be convinced that the attractions of language do not belong peculiarly, much less exclusively, to fiction and romance. It is strange indeed and much to be deplored, if the unprincipled narrator of love tales and their tragic ter has a decided advantage. I would class with serious writers all who treat of any branch of science or literature, or discuss any subject in morals or religion, or any principle which has a bearing on the business and economy of life. I do not embrace however in this list such as, driven by a side wind, touch incidentally on these themes; but those who make them the subjects of discussion, and aim to instruct their readers in these great departments of truth. Such writers only are employed about themes which blend utility with entertainment. But less vaguely, to the question where may these characteristics be found, I reply, in the writings of many distinguished scholars, statesmen, and divines of the WORKS OF TASTE. enchantment. 35 Commencing, as I have said, with Addison and Pope, and descending to our own times, what an array of talent, strengthened and refined by the highest degree of mental cultivation, meets us in our progress; and how do the fruits of mature intellect, fairer than Eden's, cluster along the path? last and present centuries. This is selected as the || be tempted to forsake Elysium itself, to trace such period of the greatest refinement in the style of English beauty, and to suffer the power of so pleasing an composition. In the sixteenth century, under the reign of Queen Elizabeth, the English language began to emerge from barbarism; in the seventeenth its improvement was accelerated, and early in the eighteenth century it verged towards its present state of maturity. From the days of Addison, that great reformer of English taste and literature, many, and indeed most of our eminent writers, have assiduously cultivated a But last of all, we must not forget to urge what luminous and graceful style, so that in discussions the should never be omitted, that besides all these, there are most grave and profound, they express themselves not certain celestial relishes brought by sanctuary spies from only with perspicuity, but often with great force and the other side of Jordan. I refer to the Bible. Startle beauty. To one who never gave this subject much not at the announcement, when I alledge that this, attention, it would be interesting to compare the style above any, above all other books, is, in the proper sense, of John Locke, a predecessor of Addison, with that of a work of taste. It has more excellences of every sort, Reid and Hume, who wrote on ethics and pneuma- than all the writings of mankind. I speak not now tology in a manner perfectly intelligible, and sometimes with the least deference to its divine origin. Losing exceedingly attractive. Locke, with all his majesty of sight of its authorship, and judging it as a book of hisintellect, penned many sentences, which, if isolated, it tories, of biographies, of political, moral, and religious would require almost a divine inspiration to understand. truth-in a word, viewing it as a mere collection of litHis everlasting circumlocution to explain the identity || erary treasures, it is the richest depository on earth. It of the oak is an example. Although Mr. Locke was a contains wealth and beauty of every sort in the highest profound writer, and had the honor of commencing a perfection. The Pentateuch and the Gospels present new era in mental philosophy, yet I would not insist sketches of history so important to mankind, that if the that he wrote with much taste; for with all his mental world should lose them, its wisdom would be to implore energy, he is exceedingly deficient in grace, and some- annihilation. Its elegies are the most pathetic, and its times in propriety of expression. Addison was by forty || descriptions the most sublime in the universe. Thanks years the successor of Locke. With him and with be to God for the unspeakable gift! Pope, who was a few years his junior, flourished the Augustan period of English literature; and it is worthy|| of notice that novel writing, in its modern acceptation, had scarcely any thing to do with its advancement. Its first stage was more indebted to Addison (some would except Steele) than to any other writer, and its second confessed Johnson as its Coryphæus. Neither of these, as is well known, aimed merely to amuse, but assiduously sought to reform the follies and to refine the morals of the age. Lest you grow impatient, we will now make a diversion, and consider the case of novels. There is properly a difference between a novel and a fiction; but modern usage has lost sight of the distinction, so that we may now take the terms as convertible. But the latter only is significant of the peculiar characteristics of such works, which is, that invention supplies their incidents. In this labor, genius is more or less aided by historical hints, but only in the way of suggestionthe characters and scenes being drawn from fancy, without any moral regard to facts. The principal charm of such a work lies in its comic, tragic, or marvelous representations, so that the writer who wins distinction in this field pursues it on the wing of a bold imagination, guided by what he believes to be the public taste. Like other writers, the novelist studies a select diction, and to the utmost of his skill, displays the various attractions of style. It is also right to mention that heretofore many novels wore titles which had a moral significancy, and by this, chiefly, gained the reputation of illustrating to advantage those good or evil passions which are cherished to the honor, or are indulged to the detriment of mankind. Modern novelists, however, whether because they have more, or because they perceive that their readers have less conscience, do not attempt this imposition on the credulity of the public. Scott and his successors have generally given no moral christening to their works, but have honestly borrowed titles from the names of their heroes. Both prose and poetry have been appropriated by Anciently almost all poetry was fiction, while We now approach a conclusion which I trust will not be revolting to the reader. It is, that many grave productions of the most eminent philosophers, scholars and divines of the last one hundred and fifty years, are properly and pre-eminently works of taste; inasmuch as they discuss well selected themes, with great boldness and originality of thought, in a method just and admirable, and in a diction remarkably pure and graceful. To enumerate the list of profound and eloquent writers who have instructed and delighted the living and the dead, by treatises on the sciences, on general literature and on Christian theology, and point out the peculiar merits of each, would be impossible in the limits of this article, and must be deferred to another occasion. It is sufficient at present to say, that the literary refinement of the period above named has spread unexpected charms over all the fields of physical, moral, and religious truth. Intellectual philosophy, and natural science in some of its branches, are often discussed in an order so lucid, and in language so attractive that,| setting aside the importance of the themes, one might|| fiction. prose professed to be the livery of truth. But order || notwithstanding fiction has for the present ten admirers is now changed, and our modern novel writers prefer and disciples to her one. I know that these disciples the sober garb. Moore and Byron are exceptions. It propose to make it a contest of reason. And pray what is not easy to determine the moral value of a certain are their arguments? class of productions, embracing Paradise Lost and Pol- First, they tell us that "our best fictions are founded lok's Course of Time. The former, as a literary work, on facts." And is this urged in their vindication? It is justly entitled to its unequaled fame. It is one of is an aggravated offense. If they are founded on facts, the most splendid monuments of genius in existence. (a verbiage which implies a superstructure of falseAnd I am not bold enough to condemn the plan of the|| hood,) they may prove to be frauds upon history. For poem, yet have sometimes wondered whether if Milton could live again, he would make so free with the deeds and destinies of the celestial hierarchies. After so long an intimacy with the scenery of heaven, I doubt if his pen would not move more cautiously in making up sketches of what is not revealed. Should he now attempt to describe wars in heaven, I suspect he would desire some facts to go upon. But leaving out of the question this class of writings, (which he who values reputation should either praise or let alone,) what is the literary and moral value of those novels which the press has issued during the last thirty years? Doubtless, if nine-tenths were in the flames, it would be no loss to literature. That proportion could be well spared. For what does it consist of but finically framed incidents which, for want of genius to invent, were gathered from the dilapidations of decayed and buried histories, and from charnel-houses where entombed generations of unremembered romances should have been permitted to repose undisturbed. If this is literature, may we escape its odors! To who, in after times, is to separate fact from fable and preserve history pure? The time will probably come that amidst many volumes of such mixed recitals, facts cannot be distinguished; and then history will be uncertain, because its records will be rendered doubtful. some this may be a novel objection to that class of romances which are formed from the hints and suggestions of history. But if we advert to the past, we shall find that the objection is not unwarranted—at least "it is founded upon facts." Several fragments of ancient literature have been for ages of an uncertain character, and many which are now proved to be of no authority or credit have, for centuries, deceived the world, being imposed upon it as truth. I will mention for example Pliny's history, which, however, authentic in the estimation of most persons, has been challenged by the critics as a pleasing fiction. Those false "Decretals" which obtained such sway in the ninth century, and rendered the pope so terrific in the unheard of prerogatives with which they clothed him, afford another instance of the kind. The reputed letter of Publius As to the remaining tenth, they do possess literary Lentulus, a forgery of the tenth or eleventh century, merit. Some of them are written with great skill which has been received as a genuine and true descripand genius, and cannot be read but with absorbing tion of the person of Jesus Christ by the procurator of interest. It is not surprising that they are devoured Judea, is another example. And think of the respect without satiety, and that the world waits with sharp- that the Christian world once paid to the alledged Letened appetite for successive dishes of such exquisite ter of Agbarus to Jesus Christ-and to certain other viands. But while to their literature we yield deserved letters which a fraudulent priesthood ascribed to the virpraise, we must in conscience add, that if ninety-nine gin Mary. To these may be added the counterfeit Goshundredths of this remnant were destroyed from off the pels and Acts of the Apostles, all of which are singuearth, it would be an unspeakable favor to the morals of lar monuments of the ingenuity with which fiction is mankind. In vindication of the statement, it is suffi- forged, and of the credulity with which it is canonized cient to say what critical readers must know to be as truth. It is certain that in the present state of socifact that not one in a hundred of these productions ety there are unusual facilities to perpetuate the distincpresents throughout, correct representations of vice and tion between history and romance. But we know not virtue. Indeed, it is doubtful if one can be found which what is in the womb of time. Some think that there does not, in some passages, give false images of both. are vials to be poured out, and trumpets to be sounded, Many of them, with strong pretense, vindicate virtue and mysteries to be unfolded, which will once more and condemn vice in certain passages which are pur-darken earth and heaven. And should this prove posely made prominent, and are to the unsuspecting the to be true, in the progress of revolutions tending imcredentials of the work. But either by carelessness or mediately to barbarism, though ultimately to the mildesign, other passages contain insinuations which tend lenium, the time may come when the "Scottish Chiefs" to loosen the hold of truth upon the conscience, and and "Quentin Durward” will have lost the unequivorender sin less odious in its deeds and less repulsive incal tokens of fiction, and will be received as fragments its penalty. of history-when the huge mass of romances which If all this is true, what judgment shall we pass upon have been so long accumulating, will usurp the authorfictions? Shall we baptize them "works of taste?"ity and dominion of truth, and form the text-books of Or shall we, with Christian independence, pronounce remote generations, from which they will derive their them unworthy of so much praise? If we condemn, be assured that the world will stand up for them. But so let it; truth is mighty and will ultimately prevail, opinions of preceding times, and by which they will judge the character of their ancestry. Thus are the records of true history periled by what are called, with great complacency, "fiction founded upon facts." || angels or demons. The latter are represented as so sagaMoreover, the history of the world is the history of cious in their schemes, or so daring in achievement, that human nature; and it is the history of God's holy the imagination of the reader is as often dazzled and and merciful providence towards mankind. To corrupt pleased as otherwise. Who is ignorant of the fact that the channels of history, therefore, is to tarnish and fal- || villainy almost always contrives to borrow some redeemsify the records of God's dealings with his creatures. It is profanely publishing libels against Deity. ing shade from the pen of fiction? This is not mere theory. Let the history of crimes be consulted, and it will be found that novels have, in some instances, provoked the commission of offenses the most flagrant, and have rendered their perpetrators philosophically calm under the disgrace of detection and the terrors of execution. Only a few days since I held in my hand authentic notices of two such cases. It is for this reason (the same principle being involved) that the conservators of good morals are solicitous for the suppression of public executions, and are convinced that sketches of the crimes, In the next place the admirers of fiction have the effrontery to urge "its healthful moral tendency." Such an allegation should be sustained by facts. Religion claims to reform its sincere converts; but it does not require us to take speculation for proof. It refers us to the reformed, and in them we have the living witnesses of its purifying power. Let fiction do the same. Let the proof of its moralizing tendency be furnished to our senses, in the righteous deeds and virtuous lives of some of its admirers, who can trace their sound morality to its influence. Let it point us to a termagent wife sof-the prison conversations, and the death scenes of capital tened into conjugal placability by the "Taming of the Shrew;" or a solitary child of fraud and misfortune, restored to sobriety by reading "Charlotte Temple." Alas! all the novelists in the world have not yet accomplished a solitary conquest over one vicious propensity of human nature. If I am in error, correct me. I affirm what I sincerely suppose to be true. And yet fictions have made conquests. They are now producing deep and lasting impressions on society. The morals of Christendom, which forty years ago, were, in these United States, formed almost entirely under the influence of serious reading, are now radically corrupted by the wholesale issues of a mercenary press. Consider this. Glance your eye over the land, and marking the change in public morals, turn to your yet innocent and happy children, and if conscience will permit, talk to them of the good moral tendency of romances. felons are detrimental to the morals of society. It has been urged that "the influence of novels must be favorable to virtue, because they rouse our sensibilities, and provoke tears." What an error! Does virtue depend on the flow of our sympathies, without regard to the objects which excite them? An experiment may enable you to judge. If you are a Christian, the first time you find yourself weeping over a novel, (if that should ever happen,) go with the tears not yet dry upon your cheek, and see how these sympathies will serve your purpose at the altar of God. The trial may lead you to suspect that the tears of the novel reader are offerings to idols. Lastly, some would vindicate this sort of reading, "because their well sustained characters display the power of genius; and because they abound in the ornaments of style, and exhibit our language in its utmost You may wonder how it is that these works do not perfection." That some novels are well written, so far tend to promote pure morals, when they hold up vice to as diction is concerned, has been granted. And they scorn and execration, and exhibit virtue in all her attrac-afford illustrations of human passion. To deny this tions-when they illustrate the miseries resulting from would betray incompetency to appreciate such producthe former, and present the latter as eventually triumph- tions as the "Vicar of Wakefield," and Johnson's ant. But for this there are two reasons. First, we know "Rasselas." But it is a mistake to assume that novels that what we read is fiction; and, according to a well exhibit our language in its utmost perfection. No known law of our minds, it cannot strengthen, but rather models of the English tongue excel, in purity and weakens the impression that virtue and vice tend to the elegance, those which may be selected from the works issues indicated. We finish the novel, lay it aside, and of many serious writers. Certain portions of the writhe charm being broken, the first labor of the mind is the tings of Robert Hall and W. E. Channing contain as recollection that this is a fancy-piece. All the circum- many faultless beauties as can be found in any compostances wrought into the thread of the story are fabu-sitions. But if not, shall we, for the mere charms of lous; and the issue, in which vice suffers defeat and vir- diction, expose ourselves to the baneful effects of novel tue is made to appear triumphant and honorable, is un-reading? If we were sure to escape unharmed, can derstood to be equally unfounded. Instead, therefore, of strengthening the belief that virtue and vice tend to such retributive results, novel reading invariably, though imperceptibly, weakens the conviction derived from other sources. Second, the novelist places vice in too great notoriety. Thousands, are abandoned to such a degree of moral profligacy, that they would prefer the notoriety of crime to the obscurity of innocence. The difficulty is, that romance scarcely ever presents the consummately vile in a garb purely despicable. Its heroes are either we innocently encourage what will prove a snare to others, and has inflicted almost incurable wounds upon society? But we cannot escape. We may flatter ourselves that our minds can pursue a pernicious train of thought clothed in language exquisitely beautiful, and presenting all the attractions of skillfully wrought fiction, and by some precautions, avoid the infection of those fairy regions which we are resolved to explore. But it is impossible. They who feast on poison dishes, must suffer the fatal consequences. |