John Lothrop Motley, A Memoir Part 3

To my letter of inquiry about this matter, Hon. George S. Boutwell courteously returned the following answer:--

BOSTON, October 14, 1878.

MY DEAR SIR,--As my memory serves me, Mr. Motley was a member of the Ma.s.sachusetts House of Representatives in the year 1847 1849. It may be well to consult the manual for that year. I recollect the controversy over the report from the Committee on Education.

His failure was not due to his want of faculty or to the vigor of his opponents.

In truth he espoused the weak side of the question and the unpopular one also. His proposition was to endow the colleges at the expense of the fund for the support of the common schools. Failure was inevitable. Neither Webster nor Choate could have carried the bill.

Very truly, GEO. S. BOUTWELL.

No one could be more ready and willing to recognize his own failures than Motley. He was as honest and manly, perhaps I may say as sympathetic with the feeling of those about him, on this occasion, as was Charles Lamb, who, sitting with his sister in the front of the pit, on the night when his farce was d.a.m.ned at its first representation, gave way to the common feeling, and hissed and hooted l.u.s.tily with the others around him. It was what might be expected from his honest and truthful nature, sometimes too severe in judging itself.

The commendation bestowed upon Motley's historical essays in "The North American Review" must have gone far towards compensating him for the ill success of his earlier venture. It pointed clearly towards the field in which he was to gather his laurels. And it was in the year following the publication of the first essay, or about that time (1846), that he began collecting materials for a history of Holland. Whether to tell the story of men that have lived and of events that have happened, or to create the characters and invent the incidents of an imaginary tale be the higher task, we need not stop to discuss. But the young author was just now like the great actor in Sir Joshua's picture, between the allurements of Thalia and Melpomene, still doubtful whether he was to be a romancer or a historian.

The tale of which the t.i.tle is given at the beginning of this section had been written several years before the date of its publication. It is a great advance in certain respects over the first novel, but wants the peculiar interest which belonged to that as a partially autobiographical memoir. The story is no longer disjointed and impossible. It is carefully studied in regard to its main facts. It has less to remind us of "Vivian Grey" and "Pelham," and more that recalls "Woodstock" and "Kenilworth."

The personages were many of them historical, though idealized; the occurrences were many of them such as the record authenticated; the localities were drawn largely from nature. The story betrays marks of haste or carelessness in some portions, though others are elaborately studied. His preface shows that the reception of his first book had made him timid and sensitive about the fate of the second, and explains and excuses what might be found fault with, to disarm the criticism he had some reason to fear.

That old watch-dog of our American literature, "The North American Review," always ready with lambent phrases in stately "Articles" for native talent of a certain pretension, and wagging its appendix of "Critical Notices" kindly at the advent of humbler merit, treated "Merry-Mount" with the distinction implied in a review of nearly twenty pages. This was a great contrast to the brief and slighting notice of "Morton's Hope." The reviewer thinks the author's descriptive power wholly exceeds his conception of character and invention of circ.u.mstances.

"He dwells, perhaps, too long and fondly upon his imagination of the landscape as it was before the stillness of the forest had been broken by the axe of the settler; but the picture is so finely drawn, with so much beauty of language and purity of sentiment, that we cannot blame him for lingering upon the scene. . . . The story is not managed with much skill, but it has variety enough of incident and character, and is told with so much liveliness that few will be inclined to lay it down before reaching the conclusion. .

. . The writer certainly needs practice in elaborating the details of a consistent and interesting novel; but in many respects he is well qualified for the task, and we shall be glad to meet him again on the half-historical ground he has chosen. His present work, certainly, is not a fair specimen of what he is able to accomplish, and its failure, or partial success, ought only to inspirit him for further effort."

The "half-historical ground" he had chosen had already led him to the entrance into the broader domain of history. The "further effort" for which he was to be inspirited had already begun. He had been for some time, as was before mentioned, collecting materials for the work which was to cast all his former attempts into the kindly shadow of oblivion, save when from time to time the light of his brilliant after success is thrown upon them to ill.u.s.trate the path by which it was at length attained.

IX.

1850. AEt. 36.

PLAN OF A HISTORY.--LETTERS.

The reputation of Mr. Prescott was now coextensive with the realm of scholarship. The histories of the reign of Ferdinand and Isabella and of the conquest of Mexico had met with a reception which might well tempt the ambition of a young writer to emulate it, but which was not likely to be awarded to any second candidate who should enter the field in rivalry with the great and universally popular historian. But this was the field on which Mr. Motley was to venture.

After he had chosen the subject of the history he contemplated, he found that Mr. Prescott was occupied with a kindred one, so that there might be too near a coincidence between them. I must borrow from Mr. Ticknor's beautiful life of Prescott the words which introduce a letter of Motley's to Mr. William Amory, who has kindly allowed me also to make use of it.

"The moment, therefore, that he [Mr. Motley] was aware of this condition of things, and the consequent possibility that there might be an untoward interference in their plans, he took the same frank and honorable course with Mr. Prescott that Mr. Prescott had taken in relation to Mr. Irving, when he found that they had both been contemplating a 'History of the Conquest of Mexico.' The result was the same. Mr. Prescott, instead of treating the matter as an interference, earnestly encouraged Mr. Motley to go on, and placed at his disposition such of the books in his library as could be most useful to him. How amply and promptly he did it, Mr. Motley's own account will best show. It is in a letter dated at Rome, 26th February, 1859, the day he heard of Mr. Prescott's death, and was addressed to his intimate friend, Mr. William Amory, of Boston, Mr.

Prescott's much-loved brother-in-law."

"It seems to me but as yesterday," Mr. Motley writes, "though it must be now twelve years ago, that I was talking with our ever-lamented friend Stackpole about my intention of writing a history upon a subject to which I have since that time been devoting myself.

I had then made already some general studies in reference to it, without being in the least aware that Prescott had the intention of writing the 'History of Philip the Second.' Stackpole had heard the fact, and that large preparations had already been made for the work, although 'Peru' had not yet been published. I felt naturally much disappointed. I was conscious of the immense disadvantage to myself of making my appearance, probably at the same time, before the public, with a work not at all similar in plan to 'Philip the Second,' but which must of necessity traverse a portion of the same ground.

"My first thought was inevitably, as it were, only of myself.

It seemed to me that I had nothing to do but to abandon at once a cherished dream, and probably to renounce authorship. For I had not first made up my mind to write a history, and then cast about to take up a subject. My subject had taken me up, drawn me on, and absorbed me into itself. It was necessary for me, it seemed, to write the book I had been thinking much of, even if it were destined to fall dead from the press, and I had no inclination or interest to write any other. When I had made up my mind accordingly, it then occurred to me that Prescott might not be pleased that I should come forward upon his ground. It is true that no announcement of his intentions had been made, and that he had not, I believe, even commenced his preliminary studies for Philip. At the same time I thought it would be disloyal on my part not to go to him at once, confer with him on the subject, and if I should find a shadow of dissatisfaction on his mind at my proposition, to abandon my plan altogether.

"I had only the slightest acquaintance with him at that time. I was comparatively a young man, and certainly not ent.i.tled on any ground to more than the common courtesy which Prescott never could refuse to any one. But he received me with such a frank and ready and liberal sympathy, and such an open-hearted, guileless expansiveness, that I felt a personal affection for him from that hour. I remember the interview as if it had taken place yesterday. It was in his father's house, in his own library, looking on the garden-house and garden,--honored father and ill.u.s.trious son,--alas! all numbered with the things that were! He a.s.sured me that he had not the slightest objection whatever to my plan, that he wished me every success, and that, if there were any books in his library bearing on my subject that I liked to use, they were entirely at my service.

After I had expressed my grat.i.tude for his kindness and cordiality, by which I had been in a very few moments set completely at ease, --so far as my fears of his disapprobation went,--I also very naturally stated my opinion that the danger was entirely mine, and that it was rather wilful of me thus to risk such a collision at my first venture, the probable consequence of which was utter shipwreck. I recollect how kindly and warmly he combated this opinion, a.s.suring me that no two books, as he said, ever injured each other, and encouraging me in the warmest and most earnest manner to proceed on the course I had marked out for myself.

"Had the result of that interview been different,--had he distinctly stated, or even vaguely hinted, that it would be as well if I should select some other topic, or had he only sprinkled me with the cold water of conventional and commonplace encouragement,--I should have gone from him with a chill upon my mind, and, no doubt, have laid down the pen at once; for, as I have already said, it was not that I cared about writing a history, but that I felt an inevitable impulse to write one particular history.

"You know how kindly he always spoke of and to me; and the generous manner in which, without the slightest hint from me, and entirely unexpected by me, he attracted the eyes of his hosts of readers to my forthcoming work, by so handsomely alluding to it in the Preface to his own, must be almost as fresh in your memory as it is in mine.

"And although it seems easy enough for a man of world-wide reputation thus to extend the right hand of fellowship to an unknown and struggling aspirant, yet I fear that the history of literature will show that such instances of disinterested kindness are as rare as they are n.o.ble."

It was not from any feeling that Mr. Motley was a young writer from whose rivalry he had nothing to apprehend. Mr. Amory says that Prescott expressed himself very decidedly to the effect that an author who had written such descriptive pa.s.sages as were to be found in Mr. Motley's published writings was not to be undervalued as a compet.i.tor by any one.

The reader who will turn to the description of Charles River in the eighth chapter of the second volume of "Merry-Mount," or of the autumnal woods in the sixteenth chapter of the same volume, will see good reason for Mr. Prescott's appreciation of the force of the rival whose advent he so heartily and generously welcomed.

X.

1851-1856. AEt. 37-42.

HISTORICAL STUDIES IN EUROPE.-LETTER FROM BRUSSELS.

After working for several years on his projected "History of the Dutch Republic," he found that, in order to do justice to his subject, he must have recourse to the authorities to be found only in the libraries and state archives of Europe. In the year 1851 he left America with his family, to begin his task over again, throwing aside all that he had already done, and following up his new course of investigations at Berlin, Dresden, the Hague, and Brussels during several succeeding years.

I do not know that I can give a better idea of his mode of life during this busy period, his occupations, his state of mind, his objects of interest outside of his special work, than by making the following extracts from a long letter to myself, dated Brussels, 20th November, 1853.

After some personal matters he continued:--

"I don't really know what to say to you. I am in a town which, for aught I know, may be very gay. I don't know a living soul in it.

We have not a single acquaintance in the place, and we glory in the fact. There is something rather sublime in thus floating on a single spar in the wide sea of a populous, busy, fuming, fussy world like this. At any rate it is consonant to both our tastes. You may suppose, however, that I find it rather difficult to amuse my friends out of the incidents of so isolated an existence. Our daily career is very regular and monotonous. Our life is as stagnant as a Dutch ca.n.a.l. Not that I complain of it,--on the contrary, the ca.n.a.l may be richly freighted with merchandise and be a short cut to the ocean of abundant and perpetual knowledge; but, at the same time, few points rise above the level of so regular a life, to be worthy of your notice. You must, therefore, allow me to meander along the meadows of commonplace. Don't expect anything of the impetuous and boiling style. We go it weak here. I don't know whether you were ever in Brussels. It is a striking, picturesque town, built up a steep promontory, the old part at the bottom, very dingy and mouldy, the new part at the top, very showy and elegant. Nothing can be more exquisite in its way than the grande place in the very heart of the city, surrounded with those toppling, zigzag, ten-storied buildings bedizened all over with ornaments and emblems so peculiar to the Netherlands, with the brocaded Hotel de Ville on one side, with its impossible spire rising some three hundred and seventy feet into the air and embroidered to the top with the delicacy of needle- work, sugarwork, spider-work, or what you will. I haunt this place because it is my scene, my theatre. Here were enacted so many deep tragedies, so many stately dramas, and even so many farces, which have been familiar to me so long that I have got to imagine myself invested with a kind of property in the place, and look at it as if it were merely the theatre with the coulisses, machinery, drapery, etc., for representing scenes which have long since vanished, and which no more enter the minds of the men and women who are actually moving across its pavements than if they had occurred in the moon.

When I say that I knew no soul in Brussels I am perhaps wrong. With the present generation I am not familiar. 'En revanche,' the dead men of the place are my intimate friends. I am at home in any cemetery. With the fellows of the sixteenth century I am on the most familiar terms. Any ghost that ever flits by night across the moonlight square is at once hailed by me as a man and a brother. I call him by his Christian name at once. When you come out of this place, however, which, as I said, is in the heart of the town,--the antique gem in the modern setting,--you may go either up or down.

If you go down, you will find yourself in the very nastiest complications of lanes and culs-de-sac possible, a dark entanglement of gin-shops, beer-houses, and hovels, through which charming valley dribbles the Senne (whence, I suppose, is derived Senna), the most nauseous little river in the world, which receives all the outpourings of all the drains and houses, and is then converted into beer for the inhabitants, all the many breweries being directly upon its edge. If you go up the hill instead of down, you come to an arrangement of squares, palaces, and gardens as trim and fashionable as you will find in Europe. Thus you see that our Cybele sits with her head crowned with very stately towers and her feet in a tub of very dirty water.

"My habits here for the present year are very regular. I came here, having, as I thought, finished my work, or rather the first Part (something like three or four volumes, 8vo), but I find so much original matter here, and so many emendations to make, that I am ready to despair. However, there is nothing for it but to penelopize, pull to pieces, and st.i.tch away again. Whatever may be the result of my labor, n.o.body can say that I have not worked like a brute beast,--but I don't care for the result. The labor is in itself its own reward and all I want. I go day after day to the archives here (as I went all summer at the Hague), studying the old letters and doc.u.ments of the fifteenth century. Here I remain among my fellow-worms, feeding on these musty mulberry-leaves, out of which we are afterwards to spin our silk. How can you expect anything interesting from such a human coc.o.o.n? It is, however, not without its amus.e.m.e.nt in a mouldy sort of way, this reading of dead letters. It is something to read the real, bona fide signs-manual of such fellows as William of Orange, Count Egmont, Alexander Farnese, Philip II., Cardinal Granvelle, and the rest of them. It gives a 'realizing sense,' as the Americans have it. . . . There are not many public resources of amus.e.m.e.nt in this place,--if we wanted them,--which we don't. I miss the Dresden Gallery very much, and it makes me sad to think that I shall never look at the face of the Sistine Madonna again,--that picture beyond all pictures in the world, in which the artist certainly did get to heaven and painted a face which was never seen on earth--so pathetic, so gentle, so pa.s.sionless, so prophetic. . . . There are a few good Rubenses here,--but the great wealth of that master is in Antwerp. The great picture of the Descent from the Cross is free again, after having been ten years in the repairing room. It has come out in very good condition. What a picture? It seems to me as if I had really stood at the cross and seen Mary weeping on John's shoulder, and Magdalen receiving the dead body of the Saviour in her arms. Never was the grand tragedy represented in so profound and dramatic a manner. For it is not only in his color in which this man so easily surpa.s.ses all the world, but in his life-like, flesh-and-blood action,--the tragic power of his composition. And is it not appalling to think of the 'large const.i.tution of this man,' when you reflect on the acres of canvas which he has covered? How inspiriting to see with what muscular, masculine vigor this splendid Fleming rushed in and plucked up drowning Art by the locks when it was sinking in the trashy sea of such creatures as the Luca Giordanos and Pietro Cortonas and the like. Well might Guido exclaim, 'The fellow mixes blood with his colors! . . . How providentially did the man come in and invoke living, breathing, moving men and women out of his canvas! Sometimes he is ranting and exaggerated, as are all men of great genius who wrestle with Nature so boldly. No doubt his heroines are more expansively endowed than would be thought genteel in our country, where cryptogams are so much in fashion, nevertheless there is always something very tremendous about him, and very often much that is sublime, pathetic, and moving. I defy any one of the average amount of imagination and sentiment to stand long before the Descent from the Cross without being moved more nearly to tears than he would care to acknowledge. As for color, his effects are as sure as those of the sun rising in a tropical landscape. There is something quite genial in the cheerful sense of his own omnipotence which always inspired him. There are a few fine pictures of his here, and I go in sometimes of a raw, foggy morning merely to warm myself in the blaze of their beauty."

I have been more willing to give room to this description of Rubens's pictures and the effect they produced upon Motley, because there is a certain affinity between those sumptuous and glowing works of art and the prose pictures of the historian who so admired them. He was himself a colorist in language, and called up the image of a great personage or a splendid pageant of the past with the same affluence, the same rich vitality, that floods and warms the vast areas of canvas over which the full-fed genius of Rubens disported itself in the luxury of imaginative creation.

XI.

1856-1857. AEt. 42-43.

PUBLICATION OF HIS FIRST HISTORICAL WORK, "RISE OF THE DUTCH REPUBLIC."

--ITS RECEPTION.--CRITICAL NOTICES.

The labor of ten years was at last finished. Carrying his formidable ma.n.u.script with him,--and how formidable the ma.n.u.script which melts down into three solid octavo volumes is, only writers and publishers know,--he knocked at the gate of that terrible fortress from which Lintot and Curll and Tonson looked down on the authors of an older generation. So large a work as the "History of the Rise of the Dutch Republic," offered for the press by an author as yet unknown to the British public, could hardly expect a warm welcome from the great dealers in literature as merchandise. Mr. Murray civilly declined the ma.n.u.script which was offered to him, and it was published at its author's expense by Mr. John Chapman.

The time came when the positions of the first-named celebrated publisher and the unknown writer were reversed. Mr. Murray wrote to Mr. Motley asking to be allowed to publish his second great work, the "History of the United Netherlands," expressing at the same time his regret at what he candidly called his mistake in the first instance, and thus they were at length brought into business connection as well as the most agreeable and friendly relations. An American edition was published by the Harpers at the same time as the London one.

If the new work of the unknown author found it difficult to obtain a publisher, it was no sooner given to the public than it found an approving, an admiring, an enthusiastic world of readers, and a n.o.ble welcome at the colder hands of the critics.

"The Westminster Review" for April, 1856, had for its leading article a paper by Mr. Froude, in which the critic awarded the highest praise to the work of the new historian. As one of the earliest as well as one of the most important recognitions of the work, I quote some of its judgments.

"A history as complete as industry and genius can make it now lies before us of the first twenty years of the Revolt of the United Provinces; of the period in which those provinces finally conquered their independence and established the Republic of Holland. It has been the result of many years of silent, thoughtful, un.o.btrusive labor, and unless we are strangely mistaken, unless we are ourselves altogether unfit for this office of criticising which we have here undertaken, the book is one which will take its place among the finest histories in this or in any language. . . . All the essentials of a great writer Mr. Motley eminently possesses. His mind is broad, his industry unwearied. In power of dramatic description no modern historian, except perhaps Mr. Carlyle, surpa.s.ses him, and in a.n.a.lysis of character he is elaborate and distinct. His principles are those of honest love for all which is good and admirable in human character wherever he finds it, while he unaffectedly hates oppression, and despises selfishness with all his heart."