Calamities And Quarrels Of Authors Part 1

Calamities and Quarrels of Authors.

by Isaac Disraeli.

PREFACE.

The Calamities of Authors have often excited the attention of the lovers of literature; and, from the revival of letters to this day, this cla.s.s of the community, the most ingenious and the most enlightened, have, in all the nations of Europe, been the most honoured, and the least remunerated. Pierius Valeria.n.u.s, an attendant in the literary court of Leo X., who twice refused a bishopric that he might pursue his studies uninterrupted, was a friend of Authors, and composed a small work, "De Infelicitate Literatorum," which has been frequently reprinted.[1] It forms a catalogue of several Italian literati, his contemporaries; a meagre performance, in which the author shows sometimes a predilection for the marvellous, which happens so rarely in human affairs; and he is so unphilosophical, that he places among the misfortunes of literary men those fatal casualties to which all men are alike liable. Yet even this small volume has its value: for although the historian confines his narrative to his own times, he includes a sufficient number of names to convince us that to devote our life to authorship is not the true means of improving our happiness or our fortune.

At a later period, a congenial work was composed by Theophilus Spizelius, a German divine; his four volumes are after the fashion of his country and his times, which could make even small things ponderous. In 1680 he first published two volumes, ent.i.tled "Infelix Literatus," and five years afterwards his "Felicissimus Literatus;" he writes without size, and sermonises without end, and seems to have been so grave a lover of symmetry, that he shapes his _Felicities_ just with the same measure as his _Infelicities_. These two equalised bundles of hay might have held in suspense the casuistical a.s.s of Sterne, till he had died from want of a motive to choose either. Yet Spizelius is not to be contemned because he is verbose and heavy; he has reflected more deeply than Valeria.n.u.s, by opening the moral causes of those calamities which he describes.[2]

The chief object of the present work is to ascertain some doubtful yet important points concerning Authors. The t.i.tle of Author still retains its seduction among our youth, and is consecrated by ages. Yet what affectionate parent would consent to see his son devote himself to his pen as a profession? The studies of a true Author insulate him in society, exacting daily labours; yet he will receive but little encouragement, and less remuneration. It will be found that the most successful Author can obtain no equivalent for the labours of his life. I have endeavoured to ascertain this fact, to develope the causes and to paint the variety of evils that naturally result from the disappointments of genius. Authors themselves never discover this melancholy truth till they have yielded to an impulse, and adopted a profession, too late in life to resist the one, or abandon the other.

Whoever labours without hope, a painful state to which Authors are at length reduced, may surely be placed among the most injured cla.s.s in the community. Most Authors close their lives in apathy or despair, and too many live by means which few of them would not blush to describe.

Besides this perpetual struggle with penury, there are also moral causes which influence the literary character. I have drawn the individual characters and feelings of Authors from their own confessions, or deduced them from the prevalent events of their lives; and often discovered them in their secret history, as it floats on tradition, or lies concealed in authentic and original doc.u.ments. I would paint what has not been unhappily called the _psychological_ character.[3]

I have limited my inquiries to our own country, and generally to recent times; for researches more curious, and eras more distant, would less forcibly act on our sympathy. If, in attempting to avoid the naked brevity of Valeria.n.u.s, I have taken a more comprehensive view of several of our Authors, it has been with the hope that I was throwing a new light on their characters, or contributing some fresh materials to our literary history. I feel anxious for the fate of the opinions and the feelings which have arisen in the progress and diversity of this work; but whatever their errors may be, it is to them that my readers at least owe the materials of which it is formed; these materials will be received with consideration, as the confessions and statements of genius itself. In mixing them with my own feelings, let me apply a beautiful apologue of the Hebrews--"The cl.u.s.ters of grapes sent out of Babylon implore favour for the exuberant leaves of the vine; for had there been no leaves, you had lost the grapes."

FOOTNOTES:

[1] A modern writer observes, that "Valeriano is chiefly known to the present times by his brief but curious and interesting work, _De Literatorum Infelicitate_, which has preserved many anecdotes of the princ.i.p.al scholars of the age, not elsewhere to be found."--ROSCOE'S _Leo X._ vol. iv. p. 175.

[2] There is also a bulky collection of this kind, ent.i.tled, _a.n.a.lecta de Calamitate Literatorum_, edited by Mencken, the author of _Charlataneria Eruditorum_.

[3] From the Grecian _Psyche_, or the soul, the Germans have borrowed this expressive term. They have a _Psychological Magazine_. Some of our own recent authors have adopted the term peculiarly adapted to the historian of the human mind.

AUTHORS BY PROFESSION.

GUTHRIE AND AMHURST--DRAKE--SMOLLETT.

A great author once surprised me by inquiring what I meant by "an Author by Profession." He seemed offended at the supposition that I was creating an odious distinction between authors. I was only placing it among their calamities.

The t.i.tle of AUTHOR is venerable; and in the ranks of national glory, authors mingle with its heroes and its patriots. It is indeed by our authors that foreigners have been taught most to esteem us; and this remarkably appears in the expression of Gemelli, the Italian traveller round the world, who wrote about the year 1700; for he told all Europe that "he could find nothing amongst us but our writings to distinguish us from the worst of barbarians." But to become an "Author by Profession," is to have no other means of subsistence than such as are extracted from the quill; and no one believes these to be so precarious as they really are, until disappointed, distressed, and thrown out of every pursuit which can maintain independence, the n.o.blest mind is cast into the lot of a doomed labourer.

Literature abounds with instances of "Authors by Profession"

accommodating themselves to this condition. By vile artifices of faction and popularity their moral sense is injured, and the literary character sits in that study which he ought to dignify, merely, as one of them sings,

To keep his mutton twirling at the fire.

Another has said, "He is a fool who is a grain honester than the times he lives in."

Let it not, therefore, be conceived that I mean to degrade or vilify the literary character, when I would only separate the Author from those polluters of the press who have turned a vestal into a prost.i.tute; a grotesque race of famished buffoons or laughing a.s.sa.s.sins; or that populace of unhappy beings, who are driven to perish in their garrets, unknown and unregarded by all, for illusions which even their calamities cannot disperse. Poverty, said an ancient, is a sacred thing--it is, indeed, so sacred, that it creates a sympathy even for those who have incurred it by their folly, or plead by it for their crimes.

The history of our Literature is instructive--let us trace the origin of characters of this sort among us: some of them have happily disappeared, and, whenever great authors obtain their due rights, the calamities of literature will be greatly diminished.

As for the phrase of "Authors by Profession," it is said to be of modern origin; and GUTHRIE, a great dealer in literature, and a political scribe, is thought to have introduced it, as descriptive of a cla.s.s of writers which he wished to distinguish from the general term. I present the reader with an unpublished letter of Guthrie, in which the phrase will not only be found, but, what is more important, which exhibits the character in its degraded form. It was addressed to a minister.

_June 3, 1762._

"My Lord,

"In the year 1745-6, Mr. Pelham, then First Lord of the Treasury, acquainted me, that it was his Majesty's pleasure I should receive, till better provided for, which never has happened, 200_l._ a-year, to be paid by him and his successors in the Treasury. I was satisfied with the august name made use of, and the appointment has been regularly and quarterly paid me ever since. I have been equally punctual in doing the government all the services that fell within my abilities or sphere of life, especially in those critical situations that call for unanimity in the service of the crown.

"Your Lordship may possibly now suspect that _I am an Author by Profession_: you are not deceived; and will be less so, if you believe that I am disposed to serve his Majesty under your Lordship's _future patronage and protection, with greater zeal, if possible, than ever_.

"I have the honour to be, "My Lord, &c., "WILLIAM GUTHRIE."

Unblushing venality! In one part he shouts like a plundering hussar who has carried off his prey; and in the other he bows with the tame suppleness of the "quarterly" Swiss chaffering his halbert for his price;--"to serve his Majesty" for--"his Lordship's future patronage."

Guthrie's notion of "An Author by Profession," entirely derived from his own character, was twofold; literary taskwork, and political degradation. He was to be a gentleman convertible into an historian, at ---- per sheet; and, when he had not time to write histories, he chose to sell his name to those he never wrote. These are mysteries of the craft of authorship; in this sense it is only a trade, and a very bad one! But when in his other capacity, this gentleman comes to hire himself to one lord as he had to another, no one can doubt that the stipendiary would change his principles with his livery.[4]

Such have been some of the "Authors by Profession" who have worn the literary mask; for literature was not the first object of their designs. They form a race peculiar to our country. They opened their career in our first great revolution, and flourished during the eventful period of the civil wars. In the form of newspapers, their "Mercuries" and "Diurnals" were political pamphlets.[5] Of these, the Royalists, being the better educated, carried off to their side all the spirit, and only left the foam and dregs for the Parliamentarians; otherwise, in lying, they were just like one another; for "the father of lies" seems to be of no party! Were it desirable to instruct men by a system of political and moral calumny, the complete art might be drawn from these archives of political lying, during their flourishing era. We might discover principles among them which would have humbled the genius of Machiavel himself, and even have taught Mr. Sheridan's more popular scribe, Mr. Puff, a sense of his own inferiority.

It is known that, during the administration of Harley and Walpole, this cla.s.s of authors swarmed and started up like mustard-seed in a hot-bed. More than fifty thousand pounds were expended among them!

Faction, with mad and blind pa.s.sions, can affix a value on the basest things that serve its purpose.[6] These "Authors by Profession" wrote more a.s.siduously the better they were paid; but as attacks only produced replies and rejoinders, to remunerate them was heightening the fever and feeding the disease. They were all fighting for present pay, with a view of the promised land before them; but they at length became so numerous, and so crowded on one another, that the minister could neither satisfy promised claims nor actual dues. He had not at last the humblest office to bestow, not a commissionership of wine licences, as Tacitus Gordon had: not even a collectorship of the customs in some obscure town, as was the wretched worn-out Oldmixon's pittance;[7] not a crumb for a mouse!

The captain of this banditti in the administration of Walpole was Arnall, a young attorney, whose mature genius for scurrilous party-papers broke forth in his tender nonage. This hireling was "The Free Briton," and in "The Gazetteer" _Francis Walsingham, Esq._, abusing the name of a profound statesman. It is said that he received above ten thousand pounds for his obscure labours; and this patriot was suffered to retire with all the dignity which a pension could confer. He not only wrote for hire, but valued himself on it; proud of the pliancy of his pen and of his principles, he wrote without remorse what his patron was forced to pay for, but to disavow. It was from a knowledge of these "Authors by Profession," writers of a faction in the name of the community, as they have been well described, that our great statesman Pitt fell into an error which he lived to regret. He did not distinguish between authors; he confounded the mercenary with the men of talent and character; and with this contracted view of the political influence of genius, he must have viewed with awe, perhaps with surprise, its mighty labour in the volumes of Burke.

But these "Authors by Profession" sometimes found a retribution of their crimes even from their masters. When the ardent patron was changed into a cold minister, their pen seemed wonderfully to have lost its point, and the feather could not any more tickle. They were flung off, as Shakspeare's striking imagery expresses it, like

An unregarded bulrush on the stream, To rot itself with motion.

Look on the fate and fortune of AMHURST. The life of this "Author by Profession" points a moral. He flourished about the year 1730. He pa.s.sed through a youth of iniquity, and was expelled from his college for his irregularities: he had exhibited no marks of regeneration when he a.s.sailed the university with the periodical paper of the _Terrae Filius_; a witty Saturnalian effusion on the manners and Toryism of Oxford, where the portraits have an extravagant kind of likeness, and are so false and so true that they were universally relished and individually understood. Amhurst, having lost his character, hastened to reform the morals and politics of the nation. For near twenty years he toiled at "The Craftsman," of which ten thousand are said to have been sold in one day. Admire this patriot! an expelled collegian becomes an outrageous zealot for popular reform, and an intrepid Whig can bend to be yoked to all the drudgery of a faction! Amhurst succeeded in writing out the minister, and writing in Bolingbroke and Pulteney. Now came the hour of grat.i.tude and generosity. His patrons mounted into power--but--they silently dropped the instrument of their ascension. The political prost.i.tute stood shivering at the gate of preferment, which his masters had for ever flung against him. He died broken-hearted, and owed the charity of a grave to his bookseller.

I must add one more striking example of a political author in the case of Dr. JAMES DRAKE, a man of genius, and an excellent writer. He resigned an honourable profession, that of medicine, to adopt a very contrary one, that of becoming an author by profession for a party. As a Tory writer, he dared every extremity of the law, while he evaded it by every subtlety of artifice; he sent a masked lady with his MS.

to the printer, who was never discovered, and was once saved by a flaw in the indictment from the simple change of an _r_ for a _t_, or _nor_ for _not_;--one of those shameful evasions by which the law, to its perpetual disgrace, so often protects the criminal from punishment.

Dr. Drake had the honour of hearing himself censured from the throne; of being imprisoned; of seeing his "Memorials of the Church of England" burned at London, and his "Historia Anglo-Scotica" at Edinburgh. Having enlisted himself in the pay of the booksellers, among other works, I suspect, he condescended to practise some literary impositions. For he has reprinted Father Parson's famous libel against the Earl of Leicester in Elizabeth's reign, under the t.i.tle of "Secret Memoirs of Robert Dudley, Earl of Leicester, 1706,"

8vo, with a preface pretending it was printed from an old MS.

Drake was a lover of literature; he left behind him a version of Herodotus, and a "System of Anatomy," once the most popular and curious of its kind. After all this turmoil of his literary life, neither his masked lady nor the flaws in his indictments availed him.

Government brought a writ of error, severely prosecuted him; and, abandoned, as usual, by those for whom he had annihilated a genius which deserved a better fate, his perturbed spirit broke out into a fever, and he died raving against cruel persecutors, and patrons not much more humane.

So much for some of those who have been "Authors by Profession" in one of the twofold capacities which Guthrie designed, that of writing for a minister; the other, that of writing for the bookseller, though far more honourable, is sufficiently calamitous.

In commercial times, the hope of profit is always a stimulating, but a degrading motive; it dims the clearest intellect, it stills the proudest feelings. Habit and prejudice will soon reconcile even genius to the work of money, and to avow the motive without a blush. "An author by profession," at once ingenious and ingenuous, declared that, "till fame appears to be worth more than money, he would always prefer money to fame." JOHNSON had a notion that there existed no motive for writing but money! Yet, crowned heads have sighed with the ambition of authorship, though this great master of the human mind could suppose that on this subject men were not actuated either by the love of glory or of pleasure! FIELDING, an author of great genius and of "the profession," in one of his "Covent-garden Journals" a.s.serts, that "An author, in a country where there is no public provision for men of genius, is not obliged to be a more disinterested patriot than any other. Why is he whose _livelihood is in his pen_ a greater monster in using it to serve himself, than he who uses his tongue for the same purpose?"

But it is a very important question to ask, is this "livelihood in the pen" really such? Authors drudging on in obscurity, and enduring miseries which can never close but with their life--shall this be worth even the humble designation of a "livelihood?" I am not now combating with them whether their taskwork degrades them, but whether they are receiving an equivalent for the violation of their genius, for the weight of the fetters they are wearing, and for the entailed miseries which form an author's sole legacies to his widow and his children. Far from me is the wish to degrade literature by the inquiry; but it will be useful to many a youth of promising talent, who is impatient to abandon all professions for this one, to consider well the calamities in which he will most probably partic.i.p.ate.

Among "Authors by Profession" who has displayed a more fruitful genius, and exercised more intense industry, with a loftier sense of his independence, than SMOLLETT? But look into his life and enter into his feelings, and you will be shocked at the disparity of his situation with the genius of the man. His life was a succession of struggles, vexations, and disappointments, yet of success in his writings. Smollett, who is a great poet, though he has written little in verse, and whose rich genius composed the most original pictures of human life, was compelled by his wants to debase his name by selling it to voyages and translations, which he never could have read. When he had worn himself down in the service of the public or the booksellers, there remained not, of all his slender remunerations, in the last stage of life, sufficient to convey him to a cheap country and a restorative air on the Continent. The father may have thought himself fortunate, that the daughter whom he loved with more than common affection was no more to share in his wants; but the husband had by his side the faithful companion of his life, left without a wreck of fortune. Smollett, gradually perishing in a foreign land,[8]

neglected by an admiring public, and without fresh resources from the booksellers, who were receiving the income of his works, threw out his injured feelings in the character of _Bramble_; the warm generosity of his temper, but not his genius, seemed fleeting with his breath. In a foreign land his widow marked by a plain monument the spot of his burial, and she perished in solitude! Yet Smollett dead--soon an ornamented column is raised at the place of his birth,[9] while the grave of the author seemed to multiply the editions of his works.

There are indeed grateful feelings in the public at large for a favourite author; but the awful testimony of those feelings, by its gradual progress, must appear beyond the grave! They visit the column consecrated by his name, and his features are most loved, most venerated, in the bust.

Smollett himself shall be the historian of his own heart; this most successful "Author by Profession," who, for his subsistence, composed masterworks of genius, and drudged in the toils of slavery, shall himself tell us what happened, and describe that state between life and death, partaking of both, which obscured his faculties and sickened his lofty spirit.