Apr 14 2017

Writing Advice from the Anglo-Irish of the 18th Century

Like Swift does, I need to get outside my own point-of-view (and socioeconomic context) and ridicule it with a fictional character. To use writers whom I detest, and use them in a favorable light to make whatever-it-is point I’m making—that is what Walter Kaufmann does!

“It grieved me to the heart when I saw my labours, which had cost me so much thought and watching, bawled about by the common hawkers of Grub Street, which I only intended for the weighty consideration of the gravest persons. This prejudiced the world so much at first, that several of my friends had the assurance to ask me whether I were in jest; to which I only answered coldly, ‘that the event would show’. But it is the talent of our age and nation to turn things of the greatest importance into ridicule.”[1]

“‘Now, therefore, I began to associate with none but disappointed authors, like myself, who praised, deplored, and despised each other. The satisfaction we found in every celebrated writer’s attempts, was inversely as their merits. I found that no genius in another could please me. My unfortunate paradoxes had entirely dried up that source of comfort. I could neither read nor write with satisfaction; for excellence in another was my aversion, and writing was my trade.”[2]

“We have just religion enough to make us hate, but not enough to make us love one another.”[3]

Don’t go beyond your doorway, your threshold:

“Every man, as a member of the commonwealth, ought to be content with the possession of his own opinion in private, without perplexing his neighbour or disturbing the public.” [R6] [4]

But if you must go beyond your doorway:

“There are but three ways for a man to revenge himself of a censorious world. To despise it; to return the like; or to endeavour to live so as to avoid it. The first of these is usually pretended; the last is almost impossible; the universal practice is the second.”[29] [5]

A little superstition goes a long way:

“There is a portion of enthusiasm assigned to every nation, which, if it hath not proper objects to work on, will burst out and set all into a flame. If the quiet of a state can be bought by only flinging men a few ceremonies to devour, it is a purchase no wise man would refuse. Let the mastiffs amuse themselves about a sheepskin stuffed with hay, provided it will keep them from worrying the flock.”[6]

A little superstition quells the motives:

“fear and hope are the two greatest natural motives of all men’s actions.”[7]

NOTES

[1] Swift, “Vindication of Isaac Bickerstaff” 1709. Jonathan Swift – Major Works. 216.

[2] Goldsmith, The Vicar of Wakefield, “20. The history of a philosophic vagabond, pursuing novelty, but losing context.”

[3] Swift, Apothegms and Maxims [from Journal to Stella] Jonathan Swift – Major Works. [‘Various Thoughts Moral and Diverting’, in Miscellanies in Prose and Verse, 1711] [1] 181.

[4] Swift, Apothegms and Maxims [from Journal to Stella] Jonathan Swift – Major Works. 185.

[5] Swift, Apothegms and Maxims [from Journal to Stella] Jonathan Swift – Major Works. 181.

[6] Swift, “An Argument to Prove that the Abolishing of Christianity in England May, as Things Now Stand, be Attended with some Inconveniences, and Perhaps Not Produce those Many Good Effects Proposed Thereby.” 1708. Jonathan Swift – Major Works. 224.

[7] Swift, “The Testimony of Conscience [a Sermon].” 1714. Jonathan Swift – Major Works. 383.


Mar 31 2017

Oliver Goldsmith 251 Years Later: Nothing has Changed

The nineteenth chapter of Oliver Goldsmith’s (1728-1774) sentimental novel The Vicar of Wakefield (1766) is entitled:

“The description of a person discontented with the present government, and apprehensive of the loss of liberties.”

How ’bout them apples?


Feb 17 2017

Why do Artists Travel?

What foreign walls will open to a wanderer?

––Statius[1]

This is my home and my homeland. It tallies with secrets my father
Left me, that talked about fate.

––Virgil[2]

Rosalind: “A traveler? By my faith, you have great reason to be sad. I fear you have sold your own lands to see other men’s. Then to have seen much and to have nothing is to have rich eyes and poor hands.”

Jacques: “Yes, I have gained my experience.”

Rosalind: “And your experience makes you sad. I had rather have a fool to make me merry than experience to make me sad— and to travel for it, too.”

––Shakespeare [3]

The traveller that distrusts every person he meets, and turns back upon the appearance of every man that looks like a robber, seldom arrives in time at his journey’s end.

––Oliver Goldsmith[4]

It must be confessed in the main that travelers who withdraw from the limitation of their homes think they step into not only a strange but a perfectly free nature, and this delusion we could at that time cherish the more as we were not yet reminded every moment by police examinations of passports, by tolls, and other such like hindrances, that abroad things are still more limited and worse than at home.

––Goethe[5]

All the arts commonly aspire toward the principle of music….. The aim of our culture should be to attain not only as intense but as complete a life as possible…. The demand of the intellect is to feel itself alive.

––Walter Pater[6]

No great artist ever sees things as they really are. If he did, he would cease to be an artist. Take an example from our own day. I know that you are fond of Japanese things. Now, do you really imagine that the Japanese people, as they are presented to us in art, have any existence? If you do, you have never understood Japanese art at all. The Japanese people are the deliberate self-conscious creation of certain individual artists. If you set a picture by Hokusai, or Hokkei, or any of the great native painters, beside a real Japanese gentleman or lady, you will see that there is not the slightest resemblance between them. The actual people who live in Japan are not unlike the general run of English people; that is to say, they are extremely commonplace, and have nothing curious or extraordinary about them. In fact the whole of Japan is a pure invention. There is no such country, there are no such people.

––Oscar Wilde[7]

See more: Why Do Artists Travel? (Part 02)

NOTES

[1] Statius, Thebaid. Translated by Ross. XI, 730

[2] Virgil, Aeneid. VII, 123.

[3] Shakespeare, As You Like It. IV, i.

[4] Goldsmith, The Vicar of Wakefield, “26. A reformation in the gaol. To make laws complete, they should reward as well as punish.”

[5] Goethe, Dichtung und Wahrheit, XIX, 661.

[6] Pater, The Renaissance 135, 188, 220.

[7] Wilde, “The Decay of Lying.”