History of English Literature Volume 2 (of 3)Taine, Hippolyte
History
History of English Literature Volume 2 (of 3)
Taine, Hippolyte
English literature -- History and criticism
I find the same inclination and the same signs in the remainder of his
life, private or public. He regularly spends his mornings in writing or
reading, then dines with his family. His reading was that of a man of
culture and a critical mind, who does not think of amusing or exciting
himself, but who learns and judges. Vergil, Ovid, Horace, Juvenal, and
Persius were his favorite authors; he translated several; their names
were always on his pen; he discusses their opinions and their merits,
feeding himself on that reasoning which oratorical customs had imprinted
on all the works of the Roman mind. He is familiar with the new French
literature, the heir of the Latin, with Corneille and Racine, Boileau,
Rapin, and Bossu;[377] he reasons with them, often in their spirit,
writes thoughtfully, seldom fails to arrange some good theory to justify
each of his new works. He knew very well the literature of his own
country, though sometimes not very accurately, gave to authors their due
rank, classified the different kinds of writing, went back as far as old
Chaucer, whom he translated and put into a modern dress. His mind thus
filled, he would go in the afternoon to Will's coffee-house, the great
literary rendezvous: young poets, students fresh from the University,
literary dilettante crowded round his chair, carefully placed in summer
on the balcony, in winter by the fire, thinking themselves fortunate to
listen to him, or to extract a pinch of snuff respectfully from his
learned snuff-box. For indeed he was the monarch of taste and the umpire
of letters; he criticised novelties--Racine's last tragedy, Blackmore's
heavy epic, Swift's first poems; slightly vain, praising his own
writings, to the extent of saying that "no one had ever composed or will
ever compose a finer ode" than his own "Alexander's Feast"; but full of
information, fond of that interchange of ideas which discussion never
fails to produce, capable of enduring contradiction, and admitting his
adversary to be in the right. These manners show that literature had
become a matter of study rather than of inspiration, an employment for
taste rather than for enthusiasm, a source of amusement rather than of
emotion.
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