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The life of Sir Thomas Browne does not afford much scope for the biographer. Everyone knows that Browne was a physician who lived at Norwich in the seventeenth century; and, so far as regards what one must call, for want of a better term, his 'life,' that is a sufficient summary of all there is to know. It is obvious that, with such scanty and unexciting materials, no biographer can say very much about what Sir Thomas Browne did; it is quite easy, however, to expatiate about what he wrote. He dug deeply into so many subjects, he touched lightly upon so many more, that his works offer innumerable openings for those half-conversational digressions and excursions of which perhaps the pleasantest kind of criticism is composed.

Mr. Gosse, in his volume on Sir Thomas Browne in the 'English Men of Letters' Series, has evidently taken this view of his subject. He has not attempted to treat it with any great profundity or elaboration; he has simply gone 'about it and about.' The result is a book so full of entertainment, of discrimination, of quiet humour, and of literary tact, that no reader could have the heart to bring up against it the obvious—though surely irrelevant—truth, that the general impression which it leaves upon the mind is in the nature of a composite presentment, in which the features of Sir Thomas have become somehow indissolubly blended with those of his biographer. It would be rash indeed to attempt to improve upon Mr. Gosse's example; after his luminous and suggestive chapters on Browne's life at Norwich, on the Vulgar Errors, and on the self-revelations in the Religio Medici, there seems to be no room for further comment. One can only admire in silence, and hand on the volume to one's neighbour.

There is, however, one side of Browne's work upon which it may be worth while to dwell at somewhat greater length. Mr. Gosse, who has so much to say on such a variety of topics, has unfortunately limited to a very small number of pages his considerations upon what is, after all, the most important thing about the author of Urn Burial and The Garden of Cyrus—his style. Mr. Gosse himself confesses that it is chiefly as a master of literary form that Browne deserves to be remembered. Why then does he tell us so little about his literary form, and so much about his family, and his religion, and his scientific opinions, and his porridge, and who fished up the murex?

Nor is it only owing to its inadequacy that Mr. Gosse's treatment of Browne as an artist in language is the least satisfactory part of his book: for it is difficult not to think that upon this crucial point Mr. Gosse has for once been deserted by his sympathy and his acumen. In spite of what appears to be a genuine delight in Browne's most splendid and characteristic passages, Mr. Gosse cannot help protesting somewhat acrimoniously against that very method of writing whose effects he is so ready to admire. In practice, he approves; in theory, he condemns. He ranks the Hydriotaphia among the gems of English literature; and the prose style of which it is the consummate expression he denounces as fundamentally wrong. The contradiction is obvious; but there can be little doubt that, though Browne has, as it were, extorted a personal homage, Mr. Gosse's real sympathies lie on the other side. His remarks upon Browne's effect upon eighteenth-century prose show clearly enough the true bent of his opinions; and they show, too, how completely misleading a preconceived theory may be.

The study of Sir Thomas Browne, Mr. Gosse says, 'encouraged Johnson, and with him a whole school of rhetorical writers in the eighteenth century, to avoid circumlocution by the invention of superfluous words, learned but pedantic, in which darkness was concentrated without being dispelled.' Such is Mr. Gosse's account of the influence of Browne and Johnson upon the later eighteenth-century writers of prose. But to dismiss Johnson's influence as something altogether deplorable, is surely to misunderstand the whole drift of the great revolution which he brought about in English letters. The characteristics of the pre-Johnsonian prose style—the style which Dryden first established and Swift brought to perfection—are obvious enough. Its advantages are those of clarity and force; but its faults, which, of course, are unimportant in the work of a great master, become glaring in that of the second-rate practitioner. The prose of Locke, for instance, or of Bishop Butler, suffers, in spite of its clarity and vigour, from grave defects. It is very flat and very loose; it has no formal beauty, no elegance, no balance, no trace of the deliberation of art. Johnson, there can be no doubt, determined to remedy these evils by giving a new mould to the texture of English prose; and he went back for a model to Sir Thomas Browne. Now, as Mr. Gosse himself observes, Browne stands out in a remarkable way from among the great mass of his contemporaries and predecessors, by virtue of his highly developed artistic consciousness. He was, says Mr. Gosse, 'never carried away. His effects are closely studied, they are the result of forethought and anxious contrivance'; and no one can doubt the truth or the significance of this dictum who compares, let us say, the last paragraphs of The Garden of Cyrus with any page in The Anatomy of Melancholy. The peculiarities of Browne's style—the studied pomp of its latinisms, its wealth of allusion, its tendency towards sonorous antithesis—culminated in his last, though not his best, work, the Christian Morals, which almost reads like an elaborate and magnificent parody of the Book of Proverbs. With the Christian Morals to guide him, Dr. Johnson set about the transformation of the prose of his time. He decorated, he pruned, he balanced; he hung garlands, he draped robes; and he ended by converting the Doric order of Swift into the Corinthian order of Gibbon. Is it quite just to describe this process as one by which 'a whole school of rhetorical writers' was encouraged 'to avoid circumlocution' by the invention 'of superfluous words,' when it was this very process that gave us the peculiar savour of polished ease which characterises nearly all the important prose of the last half of the eighteenth century—that of Johnson himself, of Hume, of Reynolds, of Horace Walpole—which can be traced even in Burke, and which fills the pages of Gibbon? It is, indeed, a curious reflection, but one which is amply justified by the facts, that the Decline and Fall could not have been precisely what it is, had Sir Thomas Browne never written the Christian Morals.

That Johnson and his disciples had no inkling of the inner spirit of the writer to whose outward form they owed so much, has been pointed out by Mr. Gosse, who adds that Browne's 'genuine merits were rediscovered and asserted by Coleridge and Lamb.' But we have already observed that Mr. Gosse's own assertion of these merits lies a little open to question. His view seems to be, in fact, the precise antithesis of Dr. Johnson's; he swallows the spirit of Browne's writing, and strains at the form. Browne, he says, was 'seduced by a certain obscure romance in the terminology of late Latin writers,' he used 'adjectives of classical extraction, which are neither necessary nor natural,' he forgot that it is better for a writer 'to consult women and people who have not studied, than those who are too learnedly oppressed by a knowledge of Latin and Greek.' He should not have said 'oneiro-criticism,' when he meant the interpretation of dreams, nor 'omneity' instead of 'oneness'; and he had 'no excuse for writing about the "pensile" gardens of Babylon, when all that is required is expressed by "hanging."' Attacks of this kind—attacks upon the elaboration and classicism of Browne's style—are difficult to reply to, because they must seem, to anyone who holds a contrary opinion, to betray such a total lack of sympathy with the subject as to make argument all but impossible. To the true Browne enthusiast, indeed, there is something almost shocking about the state of mind which would exchange 'pensile' for 'hanging,' and 'asperous' for 'rough,' and would do away with 'digladiation' and 'quodlibetically' altogether. The truth is, that there is a great gulf fixed between those who naturally dislike the ornate, and those who naturally love it. There is no remedy; and to attempt to ignore this fact only emphasises it the more. Anyone who is jarred by the expression 'prodigal blazes' had better immediately shut up Sir Thomas Browne. The critic who admits the jar, but continues to appreciate, must present, to the true enthusiast, a spectacle of curious self-contradiction.

If once the ornate style be allowed as a legitimate form of art, no attack such as Mr. Gosse makes on Browne's latinisms can possibly be valid. For it is surely an error to judge and to condemn the latinisms without reference to the whole style of which they form a necessary part. Mr. Gosse, it is true, inclines to treat them as if they were a mere excrescence which could be cut off without difficulty, and might never have existed if Browne's views upon the English language had been a little different. Browne, he says, 'had come to the conclusion that classic words were the only legitimate ones, the only ones which interpreted with elegance the thoughts of a sensitive and cultivated man, and that the rest were barbarous.' We are to suppose, then, that if he had happened to hold the opinion that Saxon words were the only legitimate ones, the Hydriotaphia would have been as free from words of classical derivation as the sermons of Latimer. A very little reflection and inquiry will suffice to show how completely mistaken this view really is. In the first place, the theory that Browne considered all unclassical words 'barbarous' and unfit to interpret his thoughts, is clearly untenable, owing to the obvious fact that his writings are full of instances of the deliberate use of such words. So much is this the case, that Pater declares that a dissertation upon style might be written to illustrate Browne's use of the words 'thin' and 'dark.' A striking phrase from the Christian Morals will suffice to show the deliberation with which Browne sometimes employed the latter word:—'the areopagy and dark tribunal of our hearts.' If Browne had thought the Saxon epithet 'barbarous,' why should he have gone out of his way to use it, when 'mysterious' or 'secret' would have expressed his meaning? The truth is clear enough. Browne saw that 'dark' was the one word which would give, better than any other, the precise impression of mystery and secrecy which he intended to produce; and so he used it. He did not choose his words according to rule, but according to the effect which he wished them to have. Thus, when he wished to suggest an extreme contrast between simplicity and pomp, we find him using Saxon words in direct antithesis to classical ones. In the last sentence of Urn Burial, we are told that the true believer, when he is to be buried, is 'as content with six foot as the Moles of Adrianus.' How could Browne have produced the remarkable sense of contrast which this short phrase conveys, if his vocabulary had been limited, in accordance with a linguistic theory, to words of a single stock?

There is, of course, no doubt that Browne's vocabulary is extraordinarily classical. Why is this? The reason is not far to seek. In his most characteristic moments he was almost entirely occupied with thoughts and emotions which can, owing to their very nature, only be expressed in Latinistic language. The state of mind which he wished to produce in his readers was nearly always a complicated one: they were to be impressed and elevated by a multiplicity of suggestions and a sense of mystery and awe. 'Let thy thoughts,' he says himself, 'be of things which have not entered into the hearts of beasts: think of things long past, and long to come: acquaint thyself with the choragium of the stars, and consider the vast expanse beyond them. Let intellectual tubes give thee a glance of things which visive organs reach not. Have a glimpse of incomprehensibles; and thoughts of things, which thoughts but tenderly touch.' Browne had, in fact, as Dr. Johnson puts it, 'uncommon sentiments'; and how was he to express them unless by a language of pomp, of allusion, and of elaborate rhythm? Not only is the Saxon form of speech devoid of splendour and suggestiveness; its simplicity is still further emphasised by a spondaic rhythm which seems to produce (by some mysterious rhythmic law) an atmosphere of ordinary life, where, though the pathetic may be present, there is no place for the complex or the remote. To understand how unsuitable such conditions would be for the highly subtle and rarefied art of Sir Thomas Browne, it is only necessary to compare one of his periods with a typical passage of Saxon prose.

Then they brought a faggot, kindled with fire, and laid the same down at Doctor Ridley's feet. To whom Master Latimer spake in this manner: 'Be of good comfort, Master Ridley, and play the man. We shall this day light such a candle, by God's grace, in England, as I trust shall never be put out.'

Nothing could be better adapted to the meaning and sentiment of this passage than the limpid, even flow of its rhythm. But who could conceive of such a rhythm being ever applicable to the meaning and sentiment of these sentences from the Hydriotaphia?

To extend our memories by monuments, whose death we daily pray for, and whose duration we cannot hope without injury to our expectations in the advent of the last day, were a contradiction to our beliefs. We, whose generations are ordained in this setting part of time, are providentially taken off from such imaginations; and, being necessitated to eye the remaining particle of futurity, are naturally constituted unto thoughts of the next world, and cannot excusably decline the consideration of that duration, which maketh pyramids pillars of snow, and all that's past a moment.

Here the long, rolling, almost turgid clauses, with their enormous Latin substantives, seem to carry the reader forward through an immense succession of ages, until at last, with a sudden change of the rhythm, the whole of recorded time crumbles and vanishes before his eyes. The entire effect depends upon the employment of a rhythmical complexity and subtlety which is utterly alien to Saxon prose. It would be foolish to claim a superiority for either of the two styles; it would be still more foolish to suppose that the effects of one might be produced by means of the other.

Wealth of rhythmical elaboration was not the only benefit which a highly Latinised vocabulary conferred on Browne. Without it, he would never have been able to achieve those splendid strokes of stylistic bravura, which were evidently so dear to his nature, and occur so constantly in his finest passages. The precise quality cannot be easily described, but is impossible to mistake; and the pleasure which it produces seems to be curiously analogous to that given by a piece of magnificent brushwork in a Rubens or a Velasquez. Browne's 'brushwork' is certainly unequalled in English literature, except by the very greatest masters of sophisticated art, such as Pope and Shakespeare; it is the inspiration of sheer technique. Such expressions as: 'to subsist in bones and be but pyramidally extant'—'sad and sepulchral pitchers which have no joyful voices'—'predicament of chimaeras'—'the irregularities of vain glory, and wild enormities of ancient magnanimity'—are examples of this consummate mastery of language, examples which, with a multitude of others, singly deserve whole hours of delicious gustation, whole days of absorbed and exquisite worship. It is pleasant to start out for a long walk with such a splendid phrase upon one's lips as: 'According to the ordainer of order and mystical mathematicks of the City of Heaven,' to go for miles and miles with the marvellous syllables still rich upon the inward ear, and to return home with them in triumph. It is then that one begins to understand how mistaken it was of Sir Thomas Browne not to have written in simple, short, straightforward Saxon English.

One other function performed by Browne's latinisms must be mentioned, because it is closely connected with the most essential and peculiar of the qualities which distinguish his method of writing. Certain classical words, partly owing to their allusiveness, partly owing to their sound, possess a remarkable flavour which is totally absent from those of Saxon derivation. Such a word, for instance, as 'pyramidally,' gives one at once an immediate sense of something mysterious, something extraordinary, and, at the same time, something almost grotesque. And this subtle blending of mystery and queerness characterises not only Browne's choice of words, but his choice of feelings and of thoughts. The grotesque side of his art, indeed, was apparently all that was visible to the critics of a few generations back, who admired him simply and solely for what they called his 'quaintness'; while Mr. Gosse has flown to the opposite extreme, and will not allow Browne any sense of humour at all. The confusion no doubt arises merely from a difference in the point of view. Mr. Gosse, regarding Browne's most important and general effects, rightly fails to detect anything funny in them. The Early Victorians, however, missed the broad outlines, and were altogether taken up with the obvious grotesqueness of the details. When they found Browne asserting that 'Cato seemed to dote upon Cabbage,' or embroidering an entire paragraph upon the subject of 'Pyrrhus his Toe,' they could not help smiling; and surely they were quite right. Browne, like an impressionist painter, produced his pictures by means of a multitude of details which, if one looks at them in themselves, are discordant, and extraordinary, and even absurd.

There can be little doubt that this strongly marked taste for curious details was one of the symptoms of the scientific bent of his mind. For Browne was scientific just up to the point where the examination of detail ends, and its coordination begins. He knew little or nothing of general laws; but his interest in isolated phenomena was intense. And the more singular the phenomena, the more he was attracted. He was always ready to begin some strange inquiry. He cannot help wondering: 'Whether great-ear'd persons have short necks, long feet, and loose bellies?' 'Marcus Antoninus Philosophus,' he notes in his commonplace book, 'wanted not the advice of the best physicians; yet how warrantable his practice was, to take his repast in the night, and scarce anything but treacle in the day, may admit of great doubt.' To inquire thus is, perhaps, to inquire too curiously; yet such inquiries are the stuff of which great scientific theories are made. Browne, however, used his love of details for another purpose: he co-ordinated them, not into a scientific theory, but into a work of art. His method was one which, to be successful, demanded a self-confidence, an imagination, and a technical power, possessed by only the very greatest artists. Everyone knows Pascal's overwhelming sentence:—'Le silence éternel de ces espaces infinis m'effraie.' It is overwhelming, obviously and immediately; it, so to speak, knocks one down. Browne's ultimate object was to create some such tremendous effect as that, by no knock-down blow, but by a multitude of delicate, subtle, and suggestive touches, by an elaborate evocation of memories and half-hidden things, by a mysterious combination of pompous images and odd unexpected trifles drawn together from the ends of the earth and the four quarters of heaven. His success gives him a place beside Webster and Blake, on one of the very highest peaks of Parnassus. And, if not the highest of all, Browne's peak is—or so at least it seems from the plains below—more difficult of access than some which are no less exalted. The road skirts the precipice the whole way. If one fails in the style of Pascal, one is merely flat; if one fails in the style of Browne, one is ridiculous. He who plays with the void, who dallies with eternity, who leaps from star to star, is in danger at every moment of being swept into utter limbo, and tossed forever in the Paradise of Fools.

Browne produced his greatest work late in life; for there is nothing in the Religio Medici which reaches the same level of excellence as the last paragraphs of The Garden of Cyrus and the last chapter of Urn Burial. A long and calm experience of life seems, indeed, to be the background from which his most amazing sentences start out into being. His strangest phantasies are rich with the spoils of the real world. His art matured with himself; and who but the most expert of artists could have produced this perfect sentence in The Garden of Cyrus, so well known, and yet so impossible not to quote?

Nor will the sweetest delight of gardens afford much comfort in sleep; wherein the dullness of that sense shakes hands with delectable odours; and though in the bed of Cleopatra, can hardly with any delight raise up the ghost of a rose.

This is Browne in his most exquisite mood. For his most characteristic, one must go to the concluding pages of Urn Burial, where, from the astonishing sentence beginning—'Meanwhile Epicurus lies deep in Dante's hell'—to the end of the book, the very quintessence of his work is to be found. The subject—mortality in its most generalised aspect—has brought out Browne's highest powers; and all the resources of his art—elaboration of rhythm, brilliance of phrase, wealth and variety of suggestion, pomp and splendour of imagination—are accumulated in every paragraph. To crown all, he has scattered through these few pages a multitude of proper names, most of them gorgeous in sound, and each of them carrying its own strange freight of reminiscences and allusions from the unknown depths of the past. As one reads, an extraordinary procession of persons seems to pass before one's eyes—Moses, Archimedes, Achilles, Job, Hector and Charles the Fifth, Cardan and Alaric, Gordianus, and Pilate, and Homer, and Cambyses, and the Canaanitish woman. Among them, one visionary figure flits with a mysterious pre-eminence, flickering over every page, like a familiar and ghostly flame. It is Methuselah; and, in Browne's scheme, the remote, almost infinite, and almost ridiculous patriarch is—who can doubt?—the only possible centre and symbol of all the rest. But it would be vain to dwell further upon this wonderful and famous chapter, except to note the extraordinary sublimity and serenity of its general tone. Browne never states in so many words what his own feelings towards the universe actually are. He speaks of everything but that; and yet, with triumphant art, he manages to convey into our minds an indelible impression of the vast and comprehensive grandeur of his soul.

It is interesting—or at least amusing—to consider what are the most appropriate places in which different authors should be read. Pope is doubtless at his best in the midst of a formal garden, Herrick in an orchard, and Shelley in a boat at sea. Sir Thomas Browne demands, perhaps, a more exotic atmosphere. One could read him floating down the Euphrates, or past the shores of Arabia; and it would be pleasant to open the Vulgar Errors in Constantinople, or to get by heart a chapter of the Christian Morals between the paws of a Sphinx. In England, the most fitting background for his strange ornament must surely be some habitation consecrated to learning, some University which still smells of antiquity and has learnt the habit of repose. The present writer, at any rate, can bear witness to the splendid echo of Browne's syllables amid learned and ancient walls; for he has known, he believes, few happier moments than those in which he has rolled the periods of the Hydriotaphia out to the darkness and the nightingales through the studious cloisters of Trinity.

But, after all, who can doubt that it is at Oxford that Browne himself would choose to linger? May we not guess that he breathed in there, in his boyhood, some part of that mysterious and charming spirit which pervades his words? For one traces something of him, often enough, in the old gardens, and down the hidden streets; one has heard his footstep beside the quiet waters of Magdalen; and his smile still hovers amid that strange company of faces which guard, with such a large passivity, the circumference of the Sheldonian.

1906.