Adventurer No. 138. Saturday, March 2, 1754.
Quid pure tranquillet; honos, an dulce lucellum,
An secretum iter, et fallentis semita vitae.
HOR. Lib, i. Ep.
xviii. 102.
Whether the tranquil mind and pure,
Honours or wealth our bliss ensure:
Or down through life unknown to stray,
Where lonely leads the silent way.
FRANCIS.
Having considered the importance of authors to the welfare of the publick, I am led by a natural train of thought, to reflect on their condition with regard to themselves; and to inquire what degree of happiness or vexation is annexed to the difficult and laborious employment of providing instruction or entertainment for mankind.
In estimating the pain or pleasure of any particular state, every man, indeed, draws his decisions from his own breast, and cannot with certainty determine whether other minds are affected by the same causes in the same manner. Yet by this criterion we must be content to judge, because no other can be obtained; and, indeed, we have no reason to think it very fallacious, for excepting here and there an anomalous mind, which either does not feel like others, or dissembles its sensibility, we find men unanimously concur in attributing happiness or misery to particular conditions, as they agree in acknowledging the cold of winter and the heat of autumn.
If we apply to authors themselves for an account of their state, it will appear very little to deserve envy; for they have in all ages been addicted to complaint. The neglect of learning, the ingratitude of the present age, and the absurd preference by which ignorance and dulness often obtain favour and rewards, have been from age to age topicks of invective; and few have left their names to posterity, without some appeal to future candour from the perverseness and malice of their own times.
I have, nevertheless, been often inclined to doubt, whether authors, however querulous, are in reality more miserable than their fellow mortals. The present life is to all a state of infelicity; every man, like an author, believes himself to merit more than he obtains, and solaces the present with the prospect of the future; others, indeed, suffer those disappointments in silence, of which the writer complains, to show how well he has learnt the art of lamentation.
There is at least one gleam of felicity, of which few writers have missed the enjoyment: he whose hopes have so far overpowered his fears, as that he has resolved to stand forth a candidate for fame, seldom fails to amuse himself, before his appearance, with pleasing scenes of affluence or honour: while his fortune is yet under the regulation of fancy, he easily models it to his wish, suffers no thoughts of criticks or rivals to intrude upon his mind, but counts over the bounties of patronage, or listens to the voice of praise.
Some there are, that talk very luxuriously of the second period of an author's happiness, and tell of the tumultuous raptures of invention, when the mind riots in imagery, and the choice stands suspended between different sentiments.
These pleasures, I believe, may sometimes be indulged to those, who come to a subject of disquisition with minds full of ideas, and with fancies so vigorous, as easily to excite, select, and arrange them. To write is, indeed, no unpleasing employment, when one sentiment readily produces another, and both ideas and expressions present themselves at the first summons; but such happiness, the greatest genius does not always obtain; and common writers know it only to such a degree, as to credit its possibility. Composition is, for the most part, an effort of slow diligence and steady perseverance, to which the mind is dragged by necessity or resolution, and from which the attention is every moment starting to more delightful amusements.
It frequently happens, that a design which, when considered at a distance, gave flattering hopes of facility, mocks us in the execution with unexpected difficulties; the mind which, while it considered it in the gross, imagined itself amply furnished with materials, finds sometimes an unexpected barrenness and vacuity, and wonders whither all those ideas are vanished, which a little before seemed struggling for emission.
Sometimes many thoughts present themselves; but so confused and unconnected, that they are not without difficulty reduced to method, or concatenated in a regular and dependent series; the mind falls at once into a labyrinth, of which neither the beginning nor end can be discovered, and toils and struggles without progress or extrication.
It is asserted by Horace, that, "if matter be once got together, words will be found with very little difficulty;" a position which, though sufficiently plausible to be inserted in poetical precepts, is by no means strictly and philosophically true. If words were naturally and necessarily consequential to sentiments, it would always follow, that he who has most knowledge must have most eloquence, and that every man would clearly express what he fully understood: yet we find, that to think, and discourse, are often the qualities of different persons: and many books might surely be produced, where just and noble sentiments are degraded and obscured by unsuitable diction.
Words, therefore, as well as things, claim the care of an author. Indeed of many authors, and those not useless or contemptible, words are almost the only care: many make it their study, not so much to strike out new sentiments, as to recommend those which are already known to more favourable notice by fairer decorations; but every man, whether he copies or invents, whether he delivers his own thoughts or those of another, has often found himself deficient in the power of expression, big with ideas which he could not utter, obliged to ransack his memory for terms adequate to his conceptions, and at last unable to impress upon his reader the image existing in his own mind.
It is one of the common distresses of a writer, to be within a word of a happy period, to want only a single epithet to give amplification its full force, to require only a correspondent term in order to finish a paragraph with elegance, and make one of its members answer to the other; but these deficiencies cannot always be supplied: and after a long study and vexation, the passage is turned anew, and the web unwoven that was so nearly finished.
But when thoughts and words are collected and adjusted, and the whole composition at last concluded, it seldom gratifies the author, when he comes coolly and deliberately to review it, with the hopes which had been excited in the fury of the performance: novelty always captivates the mind; as our thoughts rise fresh upon us, we readily believe them just and original, which, when the pleasure of production is over, we find to be mean and common, or borrowed from the works of others, and supplied by memory rather than invention.
But though it should happen that the writer finds no such faults in his performance, he is still to remember, that he looks upon it with partial eyes: and when he considers, how much men, who could judge of others with great exactness, have often failed of judging of themselves, he will be afraid of deciding too hastily in his own favour, or of allowing himself to contemplate with too much complacence, treasure that has not yet been brought to the test, nor passed the only trial that can stamp its value.
From the publick, and only from the publick, is he to await a confirmation of his claim, and a final justification of self-esteem; but the publick is not easily persuaded to favour an author. If mankind were left to judge for themselves, it is reasonable to imagine, that of such writings, at least, as describe the movements of the human passions, and of which every man carries the archetype within him, a just opinion would be formed; but whoever has remarked the fate of books, must have found it governed by other causes than general consent arising from general conviction. If a new performance happens not to fall into the hands of some who have courage to tell, and authority to propagate their opinion, it often remains long in obscurity, and perishes unknown and unexamined. A few, a very few, commonly constitute the taste of the time; the judgment which they have once pronounced, some are too lazy to discuss, and some too timorous to contradict; it may however be, I think, observed, that their power is greater to depress than exalt, as mankind are more credulous of censure than of praise.
This perversion of the publick judgment is not to be rashly numbered amongst the miseries of an author; since it commonly serves, after miscarriage, to reconcile him to himself. Because the world has sometimes passed an unjust sentence, he readily concludes the sentence unjust by which his performance is condemned; because some have been exalted above their merits by partiality, he is sure to ascribe the success of a rival, not to the merit of his work, but the zeal of his patrons. Upon the whole, as the author seems to share all the common miseries of life, he appears to partake likewise of its lenitives and abatements[1].
[1]
See a pamphlet entitled "The Case of Authors by Profession," 8vo. 1758. It is the production of Mr. James Ralph, who knew from painful experience the bitter evils incident to an employment which yielded a bare maintenance to Johnson himself. For anecdotes of Ralph, and the work alluded to, see Dr. Drake's Essays on Rambler, &c. vol. i. p. 96. [The end]
Samuel Johnson's essay: Adventurer No. 138