A man of genius is thus dropped among the people, and has first to encounter the difficulties of ordinary men, unassisted by that feeble ductility which adapts itself to the common destination. Parents are too often the victims of the decided propensity of a son to a Virgil or a Euclid; and the first step into life of a man of genius is disobedience and grief. LILLY, our famous astrologer, has described the frequent situation of such a youth, like the cowherd's son who would be a knight. Lilly proposed to his father that he should try his fortune in the metropolis, where he expected that his learning and his talents would prove serviceable to him; the father, quite incapable of discovering the latent genius of his son in his studious disposition, very willingly consented to get rid of him, for, as Lilly proceeds, "I could not work, drive the plough, or endure any country labour; my father oft would say I was good for nothing,"—words which the fathers of so many men of genius have repeated.[A]
[Footnote A: The father of Sir Joshua Reynolds reproached him frequently in his boyish days for his constant attention to drawing, and wrote on the back of one of his sketches the condemnatory words, "Done by Joshua out of pure idleness." Mignard distressed his father the surgeon, by sketching the expressive faces of his patients instead of attending to their diseases; and our own Opie, when a boy, and working with his father at his business as a carpenter, used frequently to excite his anger by drawing with red chalk on the deal boards he had carefully planed for his trade. —ED.]
In reading the memoirs of a man of genius, we often reprobate the domestic persecutions of those who opposed his inclinations. No poet but is moved with indignation at the recollection of the tutor at the Port Royal thrice burning the romance which RACINE at length got by heart; no geometrician but bitterly inveighs against the father of PASCAL for not suffering him to study Euclid, which he at length understood without studying. The father of PETRARCH cast to the flames the poetical library of his son, amidst the shrieks, the groans, and the tears of the youth. Yet this burnt-offering neither converted Petrarch into a sober lawyer, nor deprived him of the Roman laurel. The uncle of ALFIERI for more than twenty years suppressed the poetical character of this noble bard; he was a poet without knowing how to write a verse, and Nature, like a hard creditor, exacted, with redoubled interest, all the genius which the uncle had so long kept from her. These are the men whose inherent impulse no human opposition, and even no adverse education, can deter from proving them to be great men.
Let us, however, be just to the parents of a man of genius; they have another association of ideas respecting him than ourselves. We see a great man, they a disobedient child; we track him through his glory, they are wearied by the sullen resistance of one who is obscure and seems useless. The career of genius is rarely that of fortune or happiness; and the father, who himself may not be insensible to glory, dreads lest his son be found among that obscure multitude, that populace of mean artists, self-deluded yet self-dissatisfied, who must expire at the barriers of mediocrity.
If the youth of genius be struggling with a concealed impulse, he will often be thrown into a train of secret instruction which no master can impart. Hippocrates profoundly observed, that "our natures have not been taught us by any master." The faculty which the youth of genius displays in after-life may exist long ere it is perceived; and it will only make its own what is homogeneous with itself. We may often observe how the mind of this youth stubbornly rejects whatever is contrary to its habits, and alien to its affections. Of a solitary character, for solitariness is the wild nurse of his contemplations, he is fancifully described by one of the race—and here fancies are facts:
He is retired as noon-tide dew,
Or fountain in a noon-day grove.
The romantic SIDNEY exclaimed, "Eagles fly alone, and they are but sheep which always herd together."
As yet this being, in the first rudiments of his sensations, is touched by rapid emotions, and disturbed by a vague restlessness; for him the images of nature are yet dim, and he feels before he thinks; for imagination precedes reflection. One truly inspired unfolds the secret story—
Endow'd with all that Nature can bestow,
The child of fancy oft in silence bends
O'er the mixt treasures of his pregnant breast
With conscious pride. From thence he oft resolves
To frame he knows not what excelling things;
And win he knows not what sublime reward
Of praise and wonder!
But the solitude of the youth of genius has a local influence; it is full of his own creations, of his unmarked passions, and his uncertain thoughts. The titles which he gives his favourite haunts often intimate the bent of his mind—its employment, or its purpose; as PETRARCH called his retreat Linternum, after that of his hero Scipio; and a young poet, from some favourite description in Cowley, called a spot he loved to muse in, "Cowley's Walk."
A temperament of this kind has been often mistaken for melancholy.[A] "When the intermission of my studies allowed me leisure for recreation," says BOYLE of his early life, "I would very often steal away from all company, and spend four or five hours alone in the fields, and think at random; making my delighted imagination the busy scene where some romance or other was daily acted." This circumstance alarmed his friends, who concluded that he was overcome with a growing melancholy. ALFIERI found himself in this precise situation, and experienced these undefinable emotions, when, in his first travels at Marseilles, his lonely spirit only haunted the theatre and the seashore: the tragic drama was then casting its influences over his unconscious genius. Almost every evening, after bathing in the sea, it delighted him to retreat to a little recess where the land jutted out; there would he sit, leaning his hack against a high rock, which he tells us, "concealed from my sight every part of the land behind me, while before and around me I beheld nothing but the sea and the heavens: the sun, sinking into the waves, was lighting up and embellishing these two immensities; there would I pass a delicious hour of fantastic ruminations, and there I should have composed many a poem, had I then known to write either in verse or prose in any language whatever."
[Footnote A: This solemnity of manner was aped in the days of Elizabeth and James I. by such as affected scholar-like habits, and is frequently alluded to by the satirists of the time. BEN JONSON, in his "Every Man in his Humour," delineates the "country gull," Master Stephen, as affecting "to be mightily given to melancholy," and receiving the assurance, "It's your only fine humour, sir; your true melancholy breeds your perfect fine wit, sir."—ED.]
An incident of this nature is revealed to us by the other noble and mighty spirit of our times, who could most truly exhibit the history of the youth of genius, and he has painted forth the enthusiasm of the boy TASSO:—
—From my very birth
My soul was drunk with love, which did pervade
And mingle with whate'er I saw on earth;
Of objects all inanimate I made
Idols, and out of wild and lonely flowers
And rocks whereby they grew, a paradise,
Where I did lay me down within the shade
Of waving trees, and dream'd uncounted hours,
Though I was chid for wandering.
The youth of genius will be apt to retire from the active sports of his mates. BEATTIE paints himself in his own Minstrel:
Concourse,