The life and writings of Henry Fuseli Volume I Part 25

In his notions and habits, Fuseli was completely an Englishman; and although, when he spoke, no one could take him for such, yet he disliked to be thought a foreigner; and he has sometimes said to me, "When I speak in any of the established languages of Europe, I am every where considered a foreigner, even when I discourse in German, our language at Zurich being a _Patois_; but I can a.s.sure you that this is nervous, and not without its beauties." No man was a greater stickler for civil and religious liberty than Fuseli, and no man had a deeper horror of the slave trade, or a greater dislike to impressing seamen. Paying a visit to his friend Roscoe, at Liverpool, in the year 1804, this gentleman pointed out to him all the improvements which had been made in the town since he was there last, which was within a few years. He observed, "I do not wonder that you look upon these with some degree of self-complacency; for they may be considered as the work of your hands, and as such I view them with interest; but methinks I every where smell the blood of slaves."[65]

Fuseli esteemed the English character more highly than that of any other country, and was much pleased with their amus.e.m.e.nts. The theatre was a constant source of gratification, and his criticisms on plays and players were usually severe, but generally acute and just. Meeting Macklin at Johnson's table, he shewed such deep knowledge in the art in which that celebrated man was so successful, not only as a writer, but as an actor, that when Fuseli took his leave, Macklin exclaimed, "I could sit all night to discourse with that learned Theban." Of Miss O'Neill he always spoke favourably, and considered that her merits as an actress, however highly they were esteemed, had been undervalued rather than overrated. Of Mr. Betty, in 1822, he said, "If his face, on the whole, do not sanction a prophecy of unrivalled excellence, it does not exclude him from attaining eminence. Mrs. Pritchard was the allowed Lady Macbeth of her day, without one tragic feature, or one elegant limb. It is indeed a little provoking, that he who in Dublin inthralled the general female eye, when his golden locks inundated his neck,--he whose kerchief the _ladies_ at Bath of late cut out into a thousand amulets of love, should be less than the theatric sun of London;--but still

'Principibus placuisse _Feminis_ Non ultima laus est.'--

If I have murdered Horace's verse, I have improved the sense. As to former actors, the pupils of Betterton and Booth would probably have turned up their noses at Barry and Garrick--'But to praise the past,'

has always been a characteristic of age." He was an admirer of Kean in some characters which he played, particularly in his Shylock. But he considered that this actor took too wide a range. In writing to a friend, he says, "I have seen Kean and Mrs. West in Orestes and Hermione, and desire to see _them_ no more. What could excite the public rapture at his first appearance in this part, I am at a loss to guess: if his figure is not absolutely irreconcileable with the character, his action and expression are balanced between the declamation of Talma, the ravings of a bedlamite, and sometimes the barking of a dog. Mrs. West is something of a slender Grecian figure, tall, not ungraceful, and a face something like Mrs. Madyn's: she was well dressed, and has a good voice, but no rule of it, and tore her part to tatters in one uninterrupted fit of raving." In the Italian opera, and in operas in general, he did not take much delight; for in music his ear was certainly imperfect; but notwithstanding this, some few simple airs affected him strongly. In speaking of music, he said, "All your complicated harmonies of Haydn and Beethoven are fine, I know; because they are esteemed to be so by the best judges; but I am ignorant, and they say nothing to me. They give to me no more pleasure than a fine anatomical foreshortened drawing by Michael Angelo would to an unpractised eye. But the song, 'How imperfect is expression,' is the key to my heart. How could a Frenchman write it?

Lady Guilford once sang it to me so exquisitely, that I only wished to hear it over and over again, and to die when it ceased." He always held an opinion, that the English and French, as nations, possessed no genius or taste for music, and that their apparent attachment to this science was a.s.sumed, and not natural. Of masquerades, he considered that Englishmen neither possess the animal spirits nor quickness of repartee requisite for this amus.e.m.e.nt, but are apt to drop the fict.i.tious character they a.s.sume, and take up their real one. He instanced this by the following anecdote:--"At the request of young Lavater, when he was in England, I went to a masquerade at the Opera House: we were accompanied by my wife, Mrs. Wollstonecraft, and some others, and were endeavouring to be amused by the masks, when a devil came howling about us, and tormented some of the party to such a degree, that I exclaimed in a loud voice, 'Go to h.e.l.l!' but the dull devil, instead of answering in character, 'Then I will drag you down with me,' or making some bitter retort, put himself into a real pa.s.sion, and began to abuse me roundly.

So I, to avoid him, retired from the place, and left the others of the party to battle it out."

As a critic, Fuseli's powers can be best estimated by his writings. In art--his "Lectures," "Notes to Pilkington's Dictionary," his "Aphorisms," and "The Fragment of a History of Art," may be instanced.

In the cla.s.sics--but more particularly in Greek,--by the written opinions of Cowper, and the oral testimony given in society, by Porson, Parr, Burney, Symmons, and others. In consequence of his extensive knowledge in the dead languages, the situation of "Professor of Ancient Literature" to the Royal Academy became nearly a sinecure, as he afforded information upon all cla.s.sical subjects, and furnished the mottoes for the annual catalogues of the exhibition, which were usually in Greek, but sometimes in Latin. He, however, kept up the most friendly intercourse with the Professor of the time, and frequently corresponded with him, particularly so with Dr. Charles Burney, upon disputed points or doubtful pa.s.sages. I am favoured by Dr. Charles Parr Burney with the following letter, which Fuseli wrote to his father:--

"Somerset House, July 7, 1805.

"MY DEAR SIR,

"You have so often answered my questions, whether pertinent or idle, that I hope you will do the same now.

"At what period of Greek literature did the word ?ee????, 'fluentum,' change its gender, and from a neuter become a masculine? In Homer, I believe, it is uniformly neuter, ?a?a, ??ate??a ?ee??a: what then do you say to the following metamorphosis?

?a? ?e?ad??ta ?ee????

? e?a???a???? a???, &c.?

page 250, of an a.n.a.lytical Inquiry into the Principles of Taste, by _Richard Payne, Knight_; which is so much the more puzzling, as in a preceding page, 144, he seems to allow, or to know that it is neuter, by talking of ???af???? ?ee????? I am afraid the ?ee??a of the Scamander were not the only ones to boil an eel in.

"I am, with great sincerity, "My dear Sir, "Devoutly yours, "Henry Fuseli."

Fuseli corrected many editions of Clarke's Homer, for the use of students, as they pa.s.sed through the press, and gave some notes in Latin, to which the initial letter F. is affixed. An instance may be offered, not only of his knowledge of this language, but of his power in recalling words to his recollection. In a Greek Lexicon which he had, several leaves were wanting, and as an exercise to his memory, he endeavoured to supply these in his own hand-writing, without reference to another work.

In general literature, his critical knowledge may be estimated by the numerous articles which he wrote for the a.n.a.lytical Review, which are easily to be distinguished by the peculiarity of their style; and they generally have the initials Z. Z. affixed; but if it be necessary to point out any in particular, for the guidance of the reader, the reviews which have been inserted, page 81, of Cowper's Homer, and Roscoe's Lorenzo de' Medici, may be instanced. He was not less powerful in _viva voce_ criticisms than in his written ones; one or two instances of this, with regard to works of art, will suffice. In Northcote's picture of Hubert and Arthur, painted for the Shakspeare Gallery, Hubert is represented with one hand on his brow, undetermined, and apparently melted with the touching supplications of Arthur, who, kneeling at his feet, is shewn clasping his knees.

Fuseli on seeing this picture, said, "He has taken the wrong moment, for whoever looks at that hesitating Hubert must see that the boy is safe, the danger past, and the interest gone. He should have chosen the moment when Hubert stamps with his foot, and cries, 'Come forth; do as I bid you;' and two ruffians should have appeared rus.h.i.+ng in with red-hot irons; then the scene would have been such as it ought to be,--terrible." Condemning in general terms a large historical picture, which a person at table had admired; he was asked for some specific fault: "Why," said he, "the fellow has crammed into his canva.s.s fifteen figures, besides a horse, and, by G--d! he has given only three legs among them." "Why, where has he hidden the others?" was asked. "How should I know?" he answered, "I did not paint the picture; but I wonder how any one can talk of a painter and praise him, who has given fifteen men and a horse only three legs."

Shortly after the first exhibition of the works of Sir Joshua Reynolds, at the British Inst.i.tution, he wrote the following criticisms,[66] among others, upon his pictures of Ugolino, of Dido, and the Infant Hercules, which may probably be perused with interest, as they have not appeared in print.

UGOLINO.

"?a????' ??t' ?? t? e?a????a? ??d' ??e????

??d? ???? ??aa? ??a d' ?? ??d' ???? ??s?a."[67]

Od. p. [23.] 174.

"From whatever cause this face became that of Ugolino,--whether its original were that of a n.o.ble or a pauper, it is a standard of grief;--but, more habitual than sudden, the grief of one whom "sharp misery had long worn to the bones,"--not of him whom fortune's quick reverse dashed headlong on to despair. The manner in which he is grouped with his infant son, as it increases the contrast, adds to our sympathy,--which is however obtained not only at the expense of the story, but of nature. The whole family were shut up together in the cage; and when the vigorous partners of the father in arms writhe in the agonies of hunger, or, unable to support themselves, droop in languor, is it natural to see a blooming stripling, unaffected by either, at his ease console the petrified father?"

THE DIDO.

"This is one of the few historic compositions any where, and perhaps a solitary one in this collection, of which the princ.i.p.al figure is the best and occupies the most conspicuous place. Riveted to supreme beauty in the jaws of death, we pay little attention to the subordinate parts, and scorn, when recovered from sympathy and anguish, to expatiate in cold criticisms on their unfitness or impotence. He who could conceive this Dido, could not be at a loss for a better Anna, had he had a wish, or given himself time to consult his own heart, rather than to adopt a precedent of clamorous grief from Daniel di Volterra. That Iris was admitted at all, without adequate room to display her, as the arbitress of the moment, may be regretted; for if she could not be contrived to add sublimity to pathos, she could be no more than what she actually became, a tool of mean conception.

"The writer of these observations has seen the progress of this work,--if not daily, weekly,--and knows the throes which it cost its author before it emerged into the beauty, a.s.sumed the shape, or was divided into the powerful ma.s.ses of chiar' oscuro which strike us now; of colour it never had, nor wants, more than what it possesses now,--a negative share.

----'Non rem Colori Sed colorem Rei submittere ausus.'

"The painter has proved the success of a great principle, less understood than pertinaciously opposed."

THE INFANT HERCULES.

"No eminent work of art that we are acquainted with ever proved with more irresistible evidence, the truth of Hesiod's axiom, that "the half excels the whole," than the infant DemiG.o.d before us; whose tremendous superiority of conception and style not only scorns all alliance with the motley mob of whom the painter condemned him to make a part, but cannot, with any degree of justice, be degraded into a comparison with any figure which has reached us, of an Infant Hercules on ancient or modern monuments of art. Whatever homage conjecture may pay to the powers of Xeuxis, whose "Jupiter Enthroned," and "Infant Hercules," tradition joins as works of equal magnificence, it will be difficult for fancy to seek an image of loftier or more appropriate conception than that of the heroic child before us, whose magnitude of form, irresistibility of grasp, indignant disdain, and sportive ease of action, equally retain his divine origin, and disclose the germ of the future power destined to clear society and rid the earth of monsters.

"This infant, like the infants of Michael Angelo, and of what we possess of the ancients, teems with the man, but without that sacrifice of puerility observable in them. Modern art has allotted the province of children to Fiammingo; it seems to belong, with a less disputable t.i.tle, to Reynolds, who inspired the pulpy cheeks and milky limbs of the Fleming with the manners, (?T?) habits, and the mind of infancy, when first emerging form, instinct to will, sprouts to puerility, displays the dawn of character, and the varied symptoms of imitation; but above all, that unpremeditated grace, the innate gift and privilege of childhood, in countenance, att.i.tude, and action."

Notwithstanding his great acquirements in the cla.s.sics, acuteness of mind, and knowledge of some of the branches of natural philosophy, Fuseli neither solicited nor was offered any literary or other honours (except those of the Royal Academy) in this country. Expressing one day my surprise at this, he answered, "What are such things worth? for I have known men on whom the honorary degree of Doctor of Laws has been conferred by the University of Oxford, which prides itself for cla.s.sical knowledge, who cannot read correctly a line in the cla.s.sics; and you know those who are Fellows of the Royal Society, who do not possess a philosophical knowledge even of the material on which they work."

Fuseli was seldom induced to speak on religion; but, as he attached himself to no particular form or sect, which is frequently the case with foreigners, it would be difficult to give a precise idea of his tenets.

In religion, however, as well as on all other concerns, he thought for himself, unshackled by those restraints which forms, ceremonies, or opinions, often impose on the mind. No man that I have ever conversed with had a higher or more sublime notion of the attributes and benevolence of the Deity, and no one a better knowledge of the Bible. In this book he was deeply read, and recollected, when in conversation, not only those parts which, for historical facts, sublimity, pathos, or poetic beauty, are impressed on most minds, but also the minor circ.u.mstances, for he could from memory trace the several tribes, and tell you accurately the genealogy of any particular person. He seldom took up the Bible, which he frequently did, without shedding tears. One evening, when talking in a serious mood to a young lady, he related to her, in his own peculiar and forcible manner, the story of "Joseph and his Brethren," and with the greatest pathos; and at that part where Joseph falls on Benjamin's neck and wept, he burst out, while tears trembled in his eyes, "How finely that is expressed, there are beautiful things in that book! It's an exquisite book!" He had a perfect reliance on a future state of existence. "If I had not hope in this," he said, "I should hang myself, for I have lived and still live for nothing. I am certain I shall exist hereafter, for I feel that I have had powers given to me by the Deity, which time has not allowed me to exert or even to develope. I am capable of doing ten times more than I have done."

This prevailing impression broke forth on many occasions. He had accompanied Sir Thomas Lawrence to see a collection of fine casts from the antique, which had recently been formed by Jens Wolff, Esq. then Consul to his Danish Majesty, and which were arranged in a gallery built for the purpose by Mr. Smirke, at Sherwood Lodge, Battersea.

In a niche, at the end of the gallery, was placed the colossal statue of the Farnese Hercules, and by a novel arrangement of the lamps (the rest of the gallery being in total darkness), a very powerful effect was given to the statue, which had been turned with its back to the spectator, and thus presented a vast ma.s.s of shadow, defined only by its grand outline and the strength of the light beyond it; the source of which was concealed by the pedestal. Its appearance being singularly striking, in the course of the evening, Mr. Fuseli was taken down to see it. Sir Thomas Lawrence attended him, and for a few moments was disappointed by the silence of his friend; but on a servant bringing a light into the entrance-room, he perceived Fuseli excited even to tears, as he exclaimed with deep tremulous energy, "No man shall persuade me, that these emotions which I now feel are not immortal."

In farther corroboration of his opinions on this point, I may give the following conversation which I heard. Fuseli was maintaining the immortality of the soul; a gentleman present said, "I could make you or any man of sense disbelieve this in half an hour's conversation." Fuseli immediately answered, "That I am sure you could not, and I will take care you shan't."

Being pressed one day by his friend, the Reverend John Hewlett; upon his belief in the resurrection of Christ, that gentleman informs me, he answered, "I believe in a resurrection; and the resurrection of Christ is as well authenticated as any other historical fact." Although he was averse to religious controversy, and seldom entered into it, yet, if his forbearance made others press the subject, he soon shewed that he was not ignorant of the respective merits of the polemics in the Christian Church, who have in all times broached and supported contrary opinions upon disputed points. He has more than once said to me, "There are now no real Christians, for the religion of Christ died with its great Author; for where do we witness in those who bear his name, the humility, self abas.e.m.e.nt, and charity of their master, which qualities he not only taught, but practised?"

A detection of parallel pa.s.sages in authors, or of similar figures in the pictures of painters, was a favourite amus.e.m.e.nt of Fuseli's, and he would sometimes indulge in these to the gratification and instruction of the company by the hour together, for no man was more acute in discovering plagiarism. I have been indulged by the kindness of a lady of great literary attainments with the following letter, which will give some notion of his power in this respect, as far as literature is concerned.

"Norbury Park.

"Some one, who had a right to write what he liked, even nonsense;--Tiberius, I believe, began a letter to the Roman senate thus: 'Conscript Fathers, you expect a letter from me; but may all the G.o.ds and G.o.ddesses confound me, if I know on what to write, how to begin, how to go on, or what to leave out:' his perplexity arose certainly from a cause very different from that which occasions mine, though the result appears to be nearly the same. Had I brought my eyes and mind with me, I might perhaps offer some tolerable observations on the charms that surround me, to one who is all eye and all mind; but she who is really possessed by one great object, is blind to all others; and though Milton could never have been the poet of 'Paradise Lost,' had he been born blind, blindness was of service to him when he composed it.

"When I saw you last, you wished me to point out the pa.s.sage in Ta.s.so, which appeared to me copied from the Homeric description of the Cestus of Venus, in the Fourteenth Book of the Ilias; I have transcribed it from one which I found here in the library:--

"Teneri sdegni, e placide e tranquille Repulse, cari vezzi, e liete paci, Sorrisi, parolette, e dolci stille Di pianto, e sospir tronchi, e molli baci: Fuse tai cose tutte, e poscia unille, Ed al foco tempr di lente faci; E ne form quel s mirabil cinto, Di ch' ella aveva il bel fianco succincto.'

"These ingredients have been tried, they have been tasted, they are the fruits of a lover's paradise; yet, here they are nothing but an empty catalogue; and if they have a charm, it lies in the melting genius of the language: compare them with the following lines from the Vision of Arthur, in Spenser.

"Caresses sweet, and lovely blandishment, She to me made, and bade me love her dear, For dearly sure her love to me was bent, As when meet time approached, should appear; But whether dreams delude, or true it were, Was never heart so ravished with delight.

"When I awoke and found her place devoid, And nought but pressed gra.s.s, where she had lyen, I sorrowed as much as erst I joyed, And washed all the place with watery eyn; From that day forth I cast in careful mind, To seek her out----

"Thus, as he spoke, his visage waxed pale.

Here is soul, action, pa.s.sion.