But let us leave these moderns perpetuating traditional prejudices, and often to the fiftieth echo, still sounding with no voice of its own, to learn what the unprejudiced contemporaries of James I. thought of the cause of the disorders of their age. They were alike struck by the wisdom and the zeal of the monarch, and the prevalent discontents of this long reign of peace. At first, says the continuator of Stowe, all ranks but those "who were settled in piracy," as he designates the cormorants of war, and curiously enumerates their classes, “were right joyful of the peace; but, in a few years afterwards, all the benefits were generally forgotten, and the happiness of the general peace of the most part contemned." The honest annalist accounts for this unexpected result by the natural reflection-"Such is the world's corruption, and man's vile ingratitude." My philosophy enables me to advance but little beyond. A learned contemporary, Sir Symond D'Ewes, in his manuscript diary, notices the death of the monarch, whom he calls "our learned and peaceable sovereign."-"It did not a little amaze me to see all men generally slight and disregard the loss of so mild and gentle a prince, which made me even to feel, that the ensuing times might yet render his loss more sensible, and his memory more dear unto posterity." Sir Symond censures the king for not engaging in the German war to support the Palsgrave, and maintain "the true church of God;" but deeper politicians have applauded the king for avoiding a war, in which he could not essentially have served the interests of the rash prince who had assumed the title of King of Bohemia †. "Yet," adds Sir Symond, "if we consider his virtues and his learning, his augmenting the liberties of the English, rather than his oppressing them by any unlimited or illegal taxes and corrosions, his death deserved more sorrow and condolement from his subjects than it found ‡." We see The character of James I. is a moral phenomenon, a singularity of a complex nature. that we cannot trust to those modern writers who have passed their censures upon him, however just may be those very censures, for when we look narrowly into their representations, as surely we find, perhaps without an exception, that an invective never closes without some unexpected mitigating circumstance, or qualifying abatement. At the moment of inflicting the censure, some recollection in opposition to what is asserted passes in the mind, and to approximate to Truth, they offer a discrepancy, a self-contradiction. James must always be condemned on a system, while his apology is only allowed the benefit of a parenthesis. How it has happened that our luckless crowned philosopher has been the common mark at which so many quivers have been emptied, should be quite obvious when so many causes were operating against him. The shifting positions into which he was cast, and the ambiguity of his character, will § The Hebrew name, which Calmet translates Bouc Emissaire; and we 'Scape Goat, or rather Escape Goat. unriddle the enigma of his life. Contrarieties the council-table; he had that distaste for the cease to be contradictions when operated on by external causes. James was two persons in one, frequently opposed to each other. He was an antithesis in human nature or even a solecism. We possess ample evidence of his shrewdness and of his simplicity; we find the lofty regal style mingled with his familiar bonhommie. Warm, hasty, and volatile, yet with the most patient zeal to disentangle involved deception; such gravity in sense, such levity in humour; such wariness and such indiscretion; such mystery and such openness-all these must have often thrown his Majesty into some awkward dilemmas. He was a man of abstract speculation in the theory of human affairs; too witty or too aphoristic, he never seemed at a loss to decide, but too careless, perhaps too infirm, ever to come to a decision, he leaned on others. He shrunk from END OF THE CHARACTER OF JAMES THE FIRST. ΤΟ ROBERT SOUTHEY, LL.D. &c. &c. &c. IN dedicating this Work to one of the most eminent literary characters of the age, I am experiencing a peculiar gratification, in which few, perhaps none, of my contemporaries can participate; for I am addressing him, whose earliest effusions attracted my regard, near half a century past; and during that awful interval of time, for fifty years is a trial of life of whatever may be good in us, you have multiplied your talents, and have never lost a virtue. When I turn from the uninterrupted studies of your domestic solitude to our metropolitan authors, the contrast, if not encouraging, is at least extraordinary. You are not unaware that the revolutions of Society have operated on our literature, and that new classes of readers have called forth new classes of writers. The causes, and the consequences, of the present state of this fugitive literature, might form an inquiry which would include some of the important topics which concern the PUBLIC MIND,-but an inquiry which might be invidious shall not disturb a page consecrated to the record of excellence. They who draw their inspiration from the hour must not, however, complain if with that hour they pass away. March, 1839. I. D'ISRAELI. PREFACE. For the fifth time I revise a subject which has occupied my inquiries from early life, with feelings still delightful, and an enthusiasm not wholly diminished. Had not the principle upon which this work is constructed occurred to me in my youth, the materials which illustrate the literary character could never have been brought together. It was in early life that I conceived the idea of pursuing the history of genius by the similar events which had occurred to men of genius. Searching into literary history for the literary character formed a course of experimental philosophy in which every new essay verified a former trial, and confirmed a former truth. By the great philosophical principle of induction, inferences were deduced and results established, which, however vague and doubtful in speculation, are irresistible when the appeal is made to facts as they relate to others, and to feelings which must be decided on as they are passing in our own breast. It is not to be inferred from what I have here stated, that I conceive that any single man of genius will resemble every man of genius; for not only man differs from man, but varies from himself in the different stages of human life. All that I assert is, that every man of genius will discover, sooner or later, that he belongs to the brotherhood of his class, and that he cannot escape from certain habits, and feelings, and disorders, which arise from the same temperament and sympathies, and are the necessary consequence of occupying the same position, and passing through the same moral existence. Whenever we compare men of genius with each other, the history of those who are no more will serve as a perpetual commentary on our contemporaries. There are, indeed, secret feelings which their prudence conceals, or their fears obscure, or their modesty shrinks from, or their pride rejects; but I have sometimes imagined that I have held the clue as they have lost themselves in their own labyrinth. I know that many, and some of great celebrity, have sympathised with the feelings which inspired these volumes; nor, while I have elucidated the idiosyncrasy of genius, have I less studied the habits and characteristics of the lovers of literature. It has been considered that the subject of this work might have been treated with more depth of metaphysical disquisition; and there has since appeared an attempt to combine with this investigation the medical science. A work, however, should be judged by its design and its execution, and not by any preconceived notion of what it ought to be according to the critic, rather than the author. The nature of this work is dramatic rather than metaphysical. It offers a narration or a description; a conversation or a monologue; an incident or a scene. |