Literary Character of Men of Genius Part 10

[Footnote A: A collection of sixty-four of these sketches were published at Paris in 1730. They are remarkable as delineations of mental character in feature as strongly felt as if done under the direction of Larater himself.--ED.]

To this habit of continuity of attention, tracing the first simple idea to its remoter consequences, the philosophical genius owes many of its discoveries. It was one evening in the cathedral of Pisa that GALILEO observed the vibrations of a bra.s.s l.u.s.tre pendent from the vaulted roof, which had been left swinging by one of the vergers. The habitual meditation of genius combined with an ordinary accident a new idea of science, and hence conceived the invention of measuring time by the medium of a pendulum. Who but a genius of this order, sitting in his orchard, and observing the descent of an apple, could have discovered a new quality in matter, and have ascertained the laws of attraction, by perceiving that the same causes might perpetuate the regular motions of the planetary system; who but a genius of this order, while viewing boys blowing soap-bladders, could have discovered the properties of light and colours, and then anatomised a ray? FRANKLIN, on board a s.h.i.+p, observing a partial stillness in the waves when they threw down water which had been used for culinary purposes, by the same principle of meditation was led to the discovery of the wonderful property in oil of calming the agitated ocean; and many a s.h.i.+p has been preserved in tempestuous weather, or a landing facilitated on a dangerous surf, by this solitary meditation of genius.

Thus meditation draws out of the most simple truths the strictness of philosophical demonstration, converting even the amus.e.m.e.nts of school-boys, or the most ordinary domestic occurrences, into the principle of a new science. The phenomenon of galvanism was familiar to students; yet was there but one man of genius who could take advantage of an accident, give it his name, and fix it as a science. It was while lying in his bath, but still meditating on the means to detect the fraud of the goldsmith who had made Hiero's crown, that the most extraordinary philosopher of antiquity was led to the investigation of a series of propositions demonstrated in the two books of ARCHIMEDES, _De insidentibus in fluido,_ still extant; and which a great mathematician admires both for the strictness and elegance of the demonstrations. To as minute a domestic occurrence as GALVANI'S we owe the steam-engine. When the Marquis of WORCESTER was a State prisoner in the Tower, he one day observed, while his meal was preparing in his apartment, that the cover of the vessel being tight, was, by the expansion of the steam, suddenly forced off, and driven up the chimney. His inventive mind was led on in a train of thought with reference to the practical application of steam as a first mover. His observations, obscurely exhibited in his "Century of Inventions," were successively wrought out by the meditations of others, and an incident, to which one can hardly make a formal reference without a risible emotion, terminated in the n.o.blest instance of mechanical power.

Into the stillness of meditation the mind of genius must be frequently thrown; it is a kind of darkness which hides from us all surrounding objects, even in the light of day. This is the first state of existence in genius. In Cicero's "Treatise on Old Age," we find Cato admiring Caius Sulpitius Gallus, who, when he sat down to write in the morning, was surprised by the evening; and when he took up his pen in the evening, was surprised by the appearance of the morning. SOCRATES sometimes remained a whole day in immovable meditation, his eyes and countenance directed to one spot, as if in the stillness of death. LA FONTAINE, when writing his comic tales, has been observed early in the morning and late in the evening in the same rec.u.mbent posture under the same tree. This quiescent state is a sort of enthusiasm, and renders everything that surrounds us as distant as if an immense interval separated us from the scene. Poggius has told us of DANTE, that he indulged his meditations more strongly than any man he knew; for when deeply busied in reading, he seemed to live only in his ideas. Once the poet went to view a public procession; having entered a bookseller's shop, and taken up a book, he sunk into a reverie; on his return he declared that he had neither seen nor heard a single occurrence in the public exhibition, which had pa.s.sed un.o.bserved before him. It has been told of a modern astronomer, that one summer night, when he was withdrawing to his chamber, the brightness of the heavens showed a phenomenon: he pa.s.sed the whole night in observing it; and when they came to him early in the morning, and found him in the same att.i.tude, he said, like one who had been recollecting his thoughts for a few moments, "It must be thus; but I'll go to bed before it is late." He had gazed the entire night in meditation, and was not aware of it. Abernethy has finely painted the situation of NEWTON in this state of mind. I will not change his words, for his words are his feelings. "It was this power of mind --which can contemplate the greatest number of facts or propositions with accuracy--that so eminently distinguished Newton from other men. It was this power that enabled him to arrange the whole of a treatise in his thoughts before he committed a single idea to paper. In the exercise of this power, he was known occasionally to have pa.s.sed a whole night or day, entirely inattentive to surrounding objects."

There is nothing incredible in the stories related of some who have experienced this entranced state in study, where the mind, deliciously inebriated with the object it contemplates, feels nothing, from the excess of feeling, as a philosopher well describes it. The impressions from our exterior sensations are often suspended by great mental excitement.

ARCHIMEDES, involved in the investigation of mathematical truth, and the painters PROTOGENES and PARMEGIANO, found their senses locked up as it were in meditation, so as to be incapable of withdrawing themselves from their work, even in the midst of the terrors and storming of the place by the enemy. MARINO was so absorbed in the composition of his "Adonis," that he suffered his leg to be burned before the painful sensation grew stronger than the intellectual pleasure of his imagination. Monsieur THOMAS, a modern French writer, and an intense thinker, would sit for hours against a hedge, composing with a low voice, taking the same pinch of snuff for half an hour together without being aware that it had long disappeared. When he quitted his apartment, after prolonging his studies there, a visible alteration was observed in his person, and the agitation of his recent thoughts was still traced in his air and manner. With eloquent truth BUFFON described those reveries of the student, which compress his day, and mark the hours by the sensations of minutes!

"Invention depends on patience: contemplate your subject long; it will gradually unfold till a sort of electric spark convulses for a moment the brain, and spreads down to the very heart a glow of irritation. Then come the luxuries of genius, the true hours for production and composition --hours so delightful, that I have spent twelve or fourteen successively at my writing-desk, and still been in a state of pleasure." Bishop HORNE, whose literary feelings were of the most delicate and lively kind, has beautifully recorded them in his progress through a favourite and lengthened work--his Commentary on the Psalms. He alludes to himself in the third person; yet who but the self-painter could have caught those delicious emotions which are so evanescent in the deep occupation of pleasant studies? "He arose fresh in the morning to his task; the silence of the night invited him to pursue it; and he can truly say, that food and rest were not preferred before it. Every part improved infinitely upon his acquaintance with it, and no one gave him uneasiness but the last, for then he grieved that his work was done."

This eager delight of pursuing study, this impatience of interruption, and this exultation in progress, are alike finely described by MILTON in a letter to his friend Diodati.

"Such is the character of my mind, that no delay, none of the ordinary cessations for rest or otherwise, I had nearly said care or thinking of the very subject, can hold me back from being hurried on to the destined point, and from completing the great circuit, as it were, of the study in which I am engaged."

Such is the picture of genius viewed in the stillness of MEDITATION; but there is yet a more excited state, when, as if consciousness were mixing with its reveries, in the allusion of a scene, of a person, of a pa.s.sion, the emotions of the soul affect even the organs of sense. This excitement is experienced when the poet in the excellence of invention, and the philosopher in the force of intellect, alike share in the hours of inspiration and the ENTHUSIASM of genius.

CHAPTER XII.

The enthusiasm of genius.--A state of mind resembling a waking dream distinct from reverie.--The ideal presence distinguished from the real presence.--The senses are really affected in the ideal world, proved by a variety of instances.--Of the rapture or sensation of deep study in art, in science, and literature.--Of perturbed feelings in delirium.--In extreme endurance of attention.--And in visionary illusions.--Enthusiasts in literature and art--of their self-immolations.

We left the man of genius in the stillness of meditation. We have now to pursue his history through that more excited state which occurs in the most active operations of genius, and which the term _reverie_ inadequately indicates. Metaphysical distinctions but ill describe it, and popular language affords no terms for those faculties and feelings which escape the observation of the mult.i.tude not affected by the phenomenon.

The illusion produced by a drama on persons of great sensibility, when all the senses are awakened by a mixture of reality with imagination, is the effect experienced by men of genius in their own vivified ideal world.

Real emotions are raised by fiction. In a scene, apparently pa.s.sing in their presence, where the whole train of circ.u.mstances succeeds in all the continuity of nature, and where a sort of real existences appear to rise up before them, they themselves become spectators or actors. Their sympathies are excited, and the exterior organs of sense are visibly affected--they even break out into speech, and often accompany their speech with gestures.

In this equivocal state the enthusiast of genius produces his masterpieces. This waking dream is distinct from reverie, where, our thoughts wandering without connexion, the faint impressions are so evanescent as to occur without even being recollected. A day of _reverie_ is beautifully painted by ROUSSEAU as distinct from a day of _thinking_: "J'ai des journees delicieuses, errant sans souci, sans projet, sans affaire, de bois en bois, et de rocher en rocher, _revant toujours et ne pensant point."_ Far different, however, is one closely-pursued act of meditation, carrying the enthusiast of genius beyond the precinct of actual existence. The act of contemplation then creates the thing contemplated. He is now the busy actor in a world which he himself only views; alone, he hears, he sees, he touches, he laughs, he weeps; his brows and lips, and his very limbs move.

Poets and even painters, who, as Lord Bacon describes witches, "are imaginative," have often involuntarily betrayed, in the act of composition, those gestures which accompany this enthusiasm. Witness DOMENICHINO enraging himself that he might portray anger. Nor were these creative gestures quite unknown to QUINTILIAN, who has n.o.bly compared them to the las.h.i.+ngs of the lion's tail, rousing him to combat. Actors of genius have accustomed themselves to walk on the stage for an hour before the curtain was drawn, that they might fill their minds with all the phantoms of the drama, and so suspend all communion with the external world. The great actress of our age, during representation, always had the door of her dressing-room open, that she might listen to, and if possible watch the whole performance, with the same attention as was experienced by the spectators. By this means she possessed herself of all the illusion of the scene; and when she herself entered on the stage, her dreaming thoughts then brightened into a vision, where the perceptions of the soul were as firm and clear as if she were really the Constance or the Katherine whom she only represented.[A]

[Footnote A: The late Mrs. SIDDONS. She herself communicated this striking circ.u.mstance to me.]

Aware of this peculiar faculty, so prevalent in the more vivid exercise of genius, Lord KAIMES seems to have been the first who, in a work on criticism, attempted to name _the ideal presence_, to distinguish it from the _real presence_ of things. It has been called the representative faculty, the imaginative state, and many other states and faculties. Call it what we will, no term opens to us the invisible mode of its operations, no metaphysical definition expresses its variable nature. Conscious of the existence of such a faculty, our critic perceived that the conception of it is by no means clear when described in words.

Has not the difference between an actual thing, and its image in a gla.s.s, perplexed some philosophers? and it is well known how far the ideal philosophy has been carried by so fine a genius as Bishop BERKELEY. "All are pictures, alike painted on the retina, or optical sensorium!"

exclaimed the enthusiast BARRY, who only saw pictures in nature, and nature in pictures. This faculty has had a strange influence over the pa.s.sionate lovers of statues. We find unquestionable evidence of the vividness of the representative faculty, or the ideal presence, vying with that of reality. EVELYN has described one of this cast of mind, in the librarian of the Vatican, who haunted one of the finest collections at Rome. To these statues he would frequently talk as if they were living persons, often kissing and embracing them. A similar circ.u.mstance might be recorded of a man of distinguished talent and literature among ourselves.

Wondrous stories are told of the amatorial pa.s.sion for marble statues; but the wonder ceases, and the truth is established, when the irresistible ideal presence is comprehended; the visions which now bless these lovers of statues, in the modern land of sculpture, Italy, had acted with equal force in ancient Greece. "The Last Judgment," the stupendous ideal presence of MICHAEL ANGELO, seems to have communicated itself to some of his beholders: "As I stood before this picture," a late traveller tells us, "my blood chilled as if the reality were before me, and the very sound of the trumpet seemed to pierce my ears."

Cold and barren tempers without imagination, whose impressions of objects never rise beyond those of memory and reflection, which know only to compare, and not to excite, will smile at this equivocal state of the ideal presence; yet it is a real one to the enthusiast of genius, and it is his happiest and peculiar condition. Dest.i.tute of this faculty, no metaphysical aid, no art to be taught him, no mastery of talent will avail him: unblest with it, the votary will find each sacrifice lying cold on the altar, for no accepting flame from heaven shall kindle it.

This enthusiasm indeed can only be discovered by men of genius themselves; yet when most under its influence, they can least perceive it, as the eye which sees all things cannot view itself; or, rather, such an attempt would be like searching for the principle of life, which were it found would cease to be life. From an enchanted man we must not expect a narrative of his enchantment; for if he could speak to us reasonably, and like one of ourselves, in that case he would be a man in a state of disenchantment, and then would perhaps yield us no better account than we may trace by our own observations.

There is, however, something of reality in this state of the ideal presence; for the most familiar instances will show how the nerves of each external sense are put in motion by the idea of the object, as if the real object had been presented to it. The difference is only in the degree. The senses are more concerned in the ideal world than at first appears. The idea of a thing will make us shudder; and the bare imagination of it will often produce a real pain. A curious consequence may be deduced from this principle; MILTON, lingering amid the freshness of nature in Eden, felt all the delights of those elements which he was creating; his nerves moved with the images which excited them. The fierce and wild DANTE, amidst the abysses of his "Inferno," must often have been startled by its horrors, and often left his bitter and gloomy spirit in the stings he inflicted on the great criminal. The moveable nerves, then, of the man of genius are a reality, he sees, he hears, he feels, by each. How mysterious to us is the operation of this faculty!

A HOMER and a RICHARDSON,[A] like nature, open a volume large as life itself--embracing a circuit of human existence! This state of the mind has even a reality in it for the generality of persons. In a romance or a drama, tears are often seen in the eyes of the reader or the spectator, who, before they have time to recollect that the whole is fict.i.tious, have been surprised for a moment by a strong conception of a present and existing scene.

[Footnote A: Richardson a.s.sembles a family about him, writing down what they said, seeing their very manner of saying, living with them as often and as long as he wills--with such a personal unity, that an ingenious lawyer once told me that he required no stronger evidence of a fact in any court of law than a circ.u.mstantial scene in Richardson.]

Can we doubt of the reality of this faculty, when the visible and outward frame of the man of genius bears witness to its presence? When FIELDING said, "I do not doubt but the most pathetic and affecting scenes have been writ with tears," he probably drew that discovery from an inverse feeling to his own. Fielding would have been gratified to have confirmed the observation by facts which never reached him. Metastasio, in writing the ninth scene of the second act of his _Olympiad_, found himself suddenly moved--shedding tears. The imagined sorrows had inspired real tears; and they afterwards proved contagious. Had our poet not perpetuated his surprise by an interesting sonnet, the circ.u.mstance had pa.s.sed away with the emotion, as many such have. Pope could never read Priam's speech for the loss of his son without tears, and frequently has been observed to weep over tender and melancholy pa.s.sages. ALFIERI, the most energetic poet of modern times, having composed, without a pause, the whole of an act, noted in the margin--"Written under a paroxysm of enthusiasm, and while shedding a flood of tears." The impressions which the frame experiences in this state, leave deeper traces behind them than those of reverie. A circ.u.mstance accidentally preserved has informed us of the tremors of DRYDEN after having written that ode,[A] which, as he confessed, he had pursued without the power of quitting it; but these tremors were not unusual with him--for in the preface to his "Tales," he tells us, that "in translating Homer he found greater pleasure than in Virgil; but it was not a pleasure without pain; the continual agitation of the spirits must needs be a weakener to any const.i.tution, especially in age, and many pauses are required for refreshment betwixt the heats."

[Footnote A: This famous and unparalleled ode was probably afterwards retouched; but Joseph Warton discovered in it the rapidity of the thoughts, and the glow and the expressiveness of the images; which are the certain marks of the _first sketch_ of a master.]

We find Metastasio, like others of the brotherhood, susceptible of this state, complaining of his sufferings during the poetical aestus. "When I apply with attention, the nerves of my sensorium are put into a violent tumult; I grow as red as a drunkard, and am obliged to quit my work." When BUFFON was absorbed on a subject which presented great objections to his opinions, he felt his head burn, and saw his countenance flushed; and this was a warning for him to suspend his attention. GRAY could never compose voluntarily: his genius resembled the armed apparition in Shakspeare's master-tragedy. "He would not be commanded." When he wished to compose the Installation Ode, for a considerable time he felt himself without the power to begin it: a friend calling on him, GRAY flung open his door hastily, and in a hurried voice and tone, exclaiming in the first verse of that ode--

Hence, avaunt! 'tis holy ground!--

his friend started at the disordered appearance of the bard, whose o.r.g.a.s.m had disturbed his very air and countenance.

Listen to one labouring with all the magic of the spell. Madame ROLAND has thus powerfully described the ideal presence in her first readings of Telemachus and Ta.s.sot:--"My respiration rose, I felt a rapid fire colouring my face, and my voice changing had betrayed my agitation. I was Eucharis for Telemachus, and Erminia for Tancred. However, during this perfect transformation, I did not yet think that I myself was anything, for any one: the whole had no connexion with myself. I sought for nothing around me; I was they; I saw only the objects which existed for them; it was a dream, without being awakened."

The description which so calm and exquisite an investigator of taste and philosophy as our sweet and polished REYNOLDS has given of himself at one of these moments, is too rare not to be recorded in his own words.

Alluding to the famous "Transfiguration," our own RAFFAELLE says--"When I have stood looking at that picture from figure to figure, the eagerness, the spirit, the close unaffected attention of each figure to the princ.i.p.al action, my thoughts have carried me away, that I have forgot myself; and for that time might be looked upon as an enthusiastic madman; for I could really fancy the whole action was pa.s.sing before my eyes."

The effect which the study of Plutarch's Ill.u.s.trious Men produced on the mighty mind of ALFIERI, during a whole winter, while he lived as it were among the heroes of antiquity, he has himself described. Alfieri wept and raved with grief and indignation that he was born under a government which favoured no Roman heroes and sages. As often as he was struck with the great deeds of these great men, in his extreme agitation he rose from his seat as one possessed. The feeling of genius in Alfieri was suppressed for more than twenty years, by the discouragement of his uncle: but as the natural temperament cannot be crushed out of the soul of genius, he was a poet without writing a single verse; and as a great poet, the ideal presence at times became ungovernable, verging to madness. In traversing the wilds of Arragon, his emotions would certainly have given birth to poetry, could he have expressed himself in verse. It was a complete state of the imaginative existence, or this ideal presence; for he proceeded along the wilds of Arragon in a reverie, weeping and laughing by turns. He considered this as a folly, because it ended in nothing but in laughter and tears. He was not aware that he was then yielding to a demonstration, could he have judged of himself, that he possessed those dispositions of mind and that energy of pa.s.sion which form the poetical character.

Genius creates by a single conception; the statuary conceives the statue at once, which he afterwards executes by the slow process of art; and the architect contrives a whole palace in an instant. In a single principle, opening as it were on a sudden to genius, a great and new system of things is discovered. It has happened, sometimes, that this single conception, rus.h.i.+ng over the whole concentrated spirit, has agitated the frame convulsively. It comes like a whispered secret from Nature. When MALEBRANCHE first took up Descartes's Treatise on Man, the germ of his own subsequent philosophic system, such was his intense feeling, that a violent palpitation of the heart, more than once, obliged him to lay down the volume. When the first idea of the "Essay on the Arts and Sciences"

rushed on the mind of ROUSSEAU, a feverish symptom in his nervous system approached to a slight delirium. Stopping under an oak, he wrote with a pencil the Proso-popeia of Fabricius. "I still remember my solitary transport at the discovery of a philosophical argument against the doctrine of transubstantiation," exclaimed GIBBON in his Memoirs.

This quick sensibility of genius has suppressed the voice of poets in reciting their most pathetic pa.s.sages. THOMSON was so oppressed by a pa.s.sage in Virgil or Milton when he attempted to read, that "his voice sunk in ill-articulated sounds from the bottom of his breast." The tremulous figures of the ancient Sibyl appear to have been viewed in the land of the Muses, by the energetic description which Paulus Jovius gives us of the impetus and afflatus of one of the Italian improvvisatori, some of whom, I have heard from one present at a similar exhibition, have not degenerated in poetic inspiration, nor in its corporeal excitement. "His eyes fixed downwards, kindle as he gives utterance to his effusions, the moist drops flow down his cheeks, the veins of his forehead swell, and wonderfully his learned ear, as it were, abstracted and intent, moderates each impulse of his flowing numbers."[A]

[Footnote A: The pa.s.sage is curious:--"Canenti defixi exardent oculi, sudores manant, frontis venae contumesc.u.n.t, et quod mirum est, eruditae aures, tanquam alienae et intentae, omnem impetum profluentium numerorum exactissima ratione moderantur."]

This enthusiasm throws the man of genius amid Nature into absorbing reveries when the senses of other men are overcome at the appearance of destruction; he continues to view only Nature herself. The mind of PLINY, to add one more chapter to his mighty scroll, sought Nature amidst the volcano in which he perished. VERNET was on board a s.h.i.+p in a raging tempest where all hope was given up. The astonished captain beheld the artist of genius, his pencil in his hand, in calm enthusiasm sketching the terrible world of waters--studying the wave that was rising to devour him.[A]

[Footnote A: Vernet was the artist whose sea-ports of France still decorate the Louvre. He was marine painter to Louis XV. and grandfather of the celebrated Horace Vernet, whose recent death has deprived France of her best painter of battle-scenes.--ED.]

There is a tender enthusiasm in the elevated studies of antiquity. Then the ideal presence or the imaginative existence prevails, by its perpetual a.s.sociations, or as the late Dr. Brown has, perhaps, more distinctly termed them, _suggestions._ "In contemplating antiquity, the mind itself becomes antique," was finely observed by Livy, long ere our philosophy of the mind existed as a system. This rapture, or sensation of deep study, has been described by one whose imagination had strayed into the occult learning of antiquity, and in the hymns of Orpheus it seemed to him that he had lifted the veil from Nature. His feelings were a.s.sociated with her loneliness. I translate his words:--"When I took these dark mystical hymns into my hands, I appeared as it were to be descending into an abyss of the mysteries of venerable antiquity; at that moment, the world in silence and the stars and moon only, watching me." This enthusiasm is confirmed by Mr.

Mathias, who applies this description to his own emotions on his first opening the ma.n.u.script volumes of the poet Gray on the philosophy of Plato; "and many a learned man," he adds, "will acknowledge as his own the feelings of this animated scholar."

Amidst the monuments of great and departed nations, our Imagination is touched by the grandeur of local impressions, and the vivid a.s.sociations, or suggestions, of the manners, the arts, and the individuals, of a great people. The cla.s.sical author of Anacharsis, when in Italy, would often stop as if overcome by his recollections. Amid camps, temples, circuses, hippodromes, and public and private edifices, he, as it were, held an interior converse with the manes of those who seemed hovering about the capital of the old world; as if he had been a citizen of ancient Rome travelling in the modern. So men of genius have roved amid the awful ruins till the ideal presence has fondly built up the city anew, and have become Romans in the Rome of two thousand years past. POMPONOIUS LETUS, who devoted his life to this study, was constantly seen wandering amidst the vestiges of this "throne of the world." There, in many a reverie, as his eye rested on the mutilated arch and the broken column, abstracted and immovable, he dropped tears in the ideal presence of Rome and of the Romans.[A] Another enthusiast of this cla.s.s was BOSIUS, who sought beneath Rome for another Rome, in those catacombs built by the early Christians for their asylum and their sepulchre. His work of "Roma Sotteranea" is the production of a subterraneous life, pa.s.sed in fervent and perilous labours. Taking with him a hermit's meal for the week, this new Pliny often descended into the bowels of the earth, by lamp-light, clearing away the sand and ruins till a tomb broke forth, or an inscription became legible. Accompanied by some friend whom his enthusiasm had inspired with his own sympathy, here he dictated his notes, tracing the mouldering sculpture, and catching the fading picture. Thrown back into the primitive ages of Christianity, amid the local impressions, the historian of the Christian catacombs collected the memorials of an age and of a race which were hidden beneath the earth.[B]

[Footnote A: Sh.e.l.ley caught much of his poetry in wandering among the ruins of the palace of the Caesars on the Palatine Hill; and the impression made by historic ruins on the mind of Byron is powerfully evinced in his "Childe Harold."--ED.]

[Footnote B: A large number of these important memorials have been since removed to the _Galleria Lapidaria_ of the Vatican, and arranged on the walls by Marini. They are invaluable as mementoes of the early Church at Rome. Aringhi has also devoted a work to their elucidation. The Rev. C.

Maitland's "Church in the Catacombs" is an able general summary, clearly displaying their intrinsic historic value--ED.]

The same enthusiasm surrounds the world of science with that creative imagination which has startled even men of science by its peculiar discoveries. WERNER, the mineralogist, celebrated for his lectures, appears, by some accounts transmitted by his auditors, to have exercised this faculty. Werner often said that "he always depended on the muse for inspiration." His unwritten lecture was a reverie--till kindling in his progress, blending science and imagination in the grandeur of his conceptions, at times, as if he had gathered about him the very elements of nature, his spirit seemed to be hovering over the waters and the strata. With the same enthusiasm of science, CUVIER meditated on some bones, and some fragments of bones, which could not belong to any known cla.s.s of the animal kingdom. The philosopher dwelt on these animal ruins till he constructed numerous species which had disappeared from the globe.

This sublime naturalist has ascertained and cla.s.sified the fossil remains of animals whose existence can no longer be traced in the records of mankind. His own language bears testimony to the imagination which carried him on through a career so strange and wonderful. "It is a rational object of ambition in the mind of man, to whom only a short s.p.a.ce of time is allotted upon earth, to have the glory of restoring the history of _thousands of ages which preceded the existence of his race, and of thousands of animals that never were contemporaneous with his species_."

Philosophy becomes poetry, and science imagination, in the enthusiasm of genius. Even in the practical part of a science, painful to the operator himself, Mr. Abernethy has declared, and eloquently declared, that this enthusiasm is absolutely requisite. "We have need of enthusiasm, or some strong incentive, to induce us to spend our nights in study, and our days in the disgusting and health-destroying observation of human diseases, which alone can enable us to understand, alleviate, or remove them. On no other terms can we be considered as real students of our profession--to confer that which sick kings would fondly purchase with their diadem--that which wealth cannot purchase, nor state nor rank bestow--to alleviate the most insupportable of human afflictions." Such is the enthusiasm of the physiologist of genius, who elevates the demonstrations of anatomical inquiries by the cultivation of the intellectual faculties, connecting "man with the common Master of the universe."

This enthusiasm inconceivably fills the mind of genius in all great and solemn operations. It is an agitation amidst calmness, and is required hot only in the fine arts, but wherever a great and continued exertion of the soul must be employed. The great ancients, who, if they were not always philosophers, were always men of genius, saw, or imagined they saw, a divinity within the man. This enthusiasm is alike experienced in the silence of study and amidst the roar of cannon, in painting a picture or in scaling a rampart. View DE THOU, the historian, after his morning prayers, imploring the Divinity to purify his heart from partiality and hatred, and to open his spirit in developing the truth, amidst the contending factions of his times; and HAYDN, employed in his "Creation,"

earnestly addressing the Creator ere he struck his instrument. In moments like these, man becomes a perfect unity--one thought and one act, abstracted from all other thoughts and all other acts. This intensity of the mind was felt by GRAY in his loftiest excursions, and is perhaps the same power which impels the villager, when, to overcome his rivals in a contest for leaping, he retires hack some steps, collects all exertion into his mind, and clears the eventful bound. One of our admirals in the reign of Elizabeth held as a maxim, that a height of pa.s.sion, amounting to frenzy, was necessary to qualify a man for the command of a fleet; and NELSON, decorated by all his honours about him, on the day of battle, at the sight of those emblems of glory emulated himself. This enthusiasm was necessary for his genius, and made it effective.