Читать книгу The Uncollected Writings of Thomas de Quincey, Vol. 1 - Томас Де Квинси - Страница 5

Using a New Testament, of which (in the narrative parts at least) any one word being given will suggest most of what is immediately consecutive, you evade the most irksome of the penalties annexed to the first breaking ground in a new language: you evade the necessity of hunting up and down a dictionary. Your own memory, and the inevitable suggestions of the context, furnish a dictionary pro hac vice. And afterwards, upon advancing to other books, where you are obliged to forego such aids, and to swim without corks, you find yourself already in possession of the particles for expressing addition, succession, exception, inference—in short, of all the forms by which transition or connection is effected (if, but, and, therefore, however, notwithstanding), together with all those adverbs for modifying or restraining the extent of a subject or a predicate, which in all languages alike compose the essential frame-work or extra-linear machinery of human thought. The filling-up—the matter (in a scholastic sense)—may differ infinitely; but the form, the periphery, the determining moulds into which this matter is fused—all this is the same for ever: and so wonderfully limited in its extent is this frame-work, so narrow and rapidly revolving is the clock-work of connections among human thoughts, that a dozen pages of almost any book suffice to exhaust all the επεα πτεροεντα20 which express them. To have mastered these επεα πτεροεντα is in effect to have mastered seven-tenths, at the least, of any language; and the benefit of using a New Testament, or the familiar parts of an Old Testament, in this preliminary drill, is, that your own memory is thus made to operate as a perpetual dictionary or nomenclator. I have heard Mr. Southey say that, by carrying in his pocket a Dutch, Swedish, or other Testament, on occasion of a long journey performed in 'muggy' weather, and in the inside of some venerable 'old heavy'—such as used to bestow their tediousness upon our respectable fathers some thirty or forty years ago—he had more than once turned to so valuable an account the doziness or the dulness of his fellow-travellers, that whereas he had 'booked' himself at the coach-office utterly αναλφαβητος, unacquainted with the first rudiments of the given language, he had made his parting bows to his coach brethren (secretly returning thanks to them for their stupidity), in a condition for grappling with any common book in that dialect. One of the polyglot Old or New Testaments published by Bagster, would be a perfect Encyclopædia, or Panorganon, for such a scheme of coach discipline, upon dull roads and in dull company. As respects the German language in particular, I shall give one caution from my own experience, to the self-instructor: it is a caution which applies to the German language exclusively, or to that more than to any other, because the embarrassment which it is meant to meet, grows out of a defect of taste characteristic of the German mind. It is this: elsewhere, you would naturally, as a beginner, resort to prose authors, since the license and audacity of poetic thinking, and the large freedom of a poetic treatment, cannot fail to superadd difficulties of individual creation to the general difficulties of a strange dialect. But this rule, good for every other case, is not good for the literature of Germany. Difficulties there certainly are, and perhaps in more than the usual proportion, from the German peculiarities of poetic treatment; but even these are overbalanced in the result, by the single advantage of being limited in the extent by the metre, or (as it may happen) by the particular stanza. To German poetry there is a known, fixed, calculable limit. Infinity, absolute infinity, is impracticable in any German metre. Not so with German prose. Style, in any sense, is an inconceivable idea to a German intellect. Take the word in the limited sense of what the Greeks called Συνθεσις ονοματων—i. e. the construction of sentences—I affirm that a German (unless it were here and there a Lessing) cannot admit such an idea. Books there are in German, and, in other respects, very good books too, which consist of one or two enormous sentences. A German sentence describes an arch between the rising and the setting sun. Take Kant for illustration: he has actually been complimented by the cloud-spinner, Frederic Schlegel, who is now in Hades, as a most original artist in the matter of style. 'Original' Heaven knows he was! His idea of a sentence was as follows:—We have all seen, or read of, an old family coach, and the process of packing it for a journey to London some seventy or eighty years ago. Night and day, for a week at least, sate the housekeeper, the lady's maid, the butler, the gentleman's gentleman, &c., packing the huge ark in all its recesses, its 'imperials,' its 'wills,' its 'Salisbury boots,' its 'sword-cases,' its front pockets, side pockets, rear pockets, its 'hammer-cloth cellars' (which a lady explains to me as a corruption from hamper-cloth, as originally a cloth for hiding a hamper, stored with viaticum), until all the uses and needs of man, and of human life, savage or civilised, were met with separate provision by the infinite chaos. Pretty nearly upon the model of such an old family coach packing, did Kant institute and pursue the packing and stuffing of one of his regular sentences. Everything that could ever be needed in the way of explanation, illustration, restraint, inference, by-clause, or indirect comment, was to be crammed, according to this German philosopher's taste, into the front pockets, side pockets, or rear pockets, of the one original sentence. Hence it is that a sentence will last in reading whilst a man

Nor is this any peculiarity of Kant's. It is common to the whole family of prose writers of Germany, unless when they happen to have studied French models, who cultivate the opposite extreme. As a caution, therefore, practically applied to this particular anomaly in German prose-writing, I advise all beginners to choose between two classes of composition—ballad poetry, or comedy—as their earliest school of exercise; ballad poetry, because the form of the stanza (usually a quatrain) prescribes a very narrow range to the sentences; comedy, because the form of dialogue, and the imitation of daily life in its ordinary tone of conversation, and the spirit of comedy naturally suggesting a brisk interchange of speech, all tend to short sentences. These rules I soon drew from my own experience and observation. And the one sole purpose towards which I either sought or wished for aid, respected the pronunciation; not so much for attaining a just one (which I was satisfied could not be realised out of Germany, or, at least, out of a daily intercourse with Germans) as for preventing the formation, unawares, of a radically false one. The guttural and palatine sounds of the ch, and some other German peculiarities, cannot be acquired without constant practice. But the false Westphalian or Jewish pronunciation of the vowels, diphthongs, &c., may easily be forestalled, though the true delicacy of Meissen should happen to be missed. Thus much guidance I purchased, with a very few guineas, from my young Dresden tutor, who was most anxious for permission to extend his assistance; but this I would not hear of: and, in the spirit of fierce (perhaps foolish) independence, which governed most of my actions at that time of life, I did all the rest for myself.

These, or words like these, in which Wordsworth conveys the sudden apocalypse, as by an apparition, to an ardent and sympathising spirit, of the stupendous world of America, rising, at once, like an exhalation, with all its shadowy forests, its endless savannas, and its pomp of solitary waters—well and truly might I have applied to my first launching upon that vast billowy ocean of the German literature. As a past literature, as a literature of inheritance and tradition, the German was nothing. Ancestral titles it had none; or none comparable to those of England, Spain, or even Italy; and there, also, it resembled America, as contrasted with the ancient world of Asia, Europe, and North Africa.21 But, if its inheritance were nothing, its prospects, and the scale of its present development, were in the amplest style of American grandeur. Ten thousand new books, we are assured by Menzel, an author of high reputation—a literal myriad—is considerably below the number annually poured from all quarters of Germany, into the vast reservoir of Leipsic; spawn infinite, no doubt, of crazy dotage, of dreaming imbecility, of wickedness, of frenzy, through every phasis of Babylonian confusion; yet, also, teeming and heaving with life and the instincts of truth—of truth hunting and chasing in the broad daylight, or of truth groping in the chambers of darkness; sometimes seen as it displays its cornucopia of tropical fruitage; sometimes heard dimly, and in promise, working its way through diamond mines. Not the tropics, not the ocean, not life itself, is such a type of variety, of infinite forms, or of creative power, as the German literature, in its recent motions (say for the last twenty years), gathering, like the Danube, a fresh volume of power at every stage of its advance. A banner it was, indeed, to me of miraculous promise, and suddenly unfurled. It seemed, in those days, an El Dorado as true and undeceiving as it was evidently inexhaustible. And the central object in this interminable wilderness of what then seemed imperishable bloom and verdure—the very tree of knowledge in the midst of this Eden—was the new or transcendental philosophy of Immanuel Kant.

I have described the gorgeousness of my expectations in those early days of my prelusive acquaintance with German literature. I have a little lingered in painting that glad aurora of my first pilgrimage to the fountains of the Rhine and of the Danube, in order adequately to shadow out the gloom and blight which soon afterwards settled upon the hopes of that golden dawn. In Kant, I had been taught to believe, were the keys of a new and a creative philosophy. Either 'ejus ductu,' or 'ejus auspiciis'—that is, either directly under his guidance, or indirectly under any influence remotely derived from his principles—I looked confidingly to see the great vistas and avenues of truth laid open to the philosophic inquirer. Alas! all was a dream. Six weeks' study was sufficient to close my hopes in that quarter for ever. The philosophy of Kant—so famous, so commanding in Germany, from about the period of the French Revolution—already, in 1805, I had found to be a philosophy of destruction, and scarcely, in any one chapter, so much as tending to a philosophy of reconstruction. It destroys by wholesale, and it substitutes nothing. Perhaps, in the whole history of man, it is an unexampled case, that such a scheme of speculation—which offers nothing seducing to human aspirations, nothing splendid to the human imagination, nothing even positive and affirmative to the human understanding—should have been able to found an interest so broad and deep among thirty-five millions of cultivated men. The English reader who supposes this interest to have been confined to academic bowers, or the halls of philosophic societies, is most inadequately alive to the case. Sects, heresies, schisms, by hundreds, have arisen out of this philosophy—many thousands of books have been written by way of teaching it, discussing it, extending it, opposing it. And yet it is a fact, that all its doctrines are negative—teaching, in no case, what we are, but simply what we are not to believe—and that all its truths are barren. Such being its unpopular character, I cannot but imagine that the German people have received it with so much ardour, from profound incomprehension of its meaning, and utter blindness to its drift—a solution which may seem extravagant, but is not so; for, even amongst those who have expressly commented on this philosophy, not one of the many hundreds whom I have myself read, but has retracted from every attempt to explain its dark places. In these dark places lies, indeed, the secret of its attraction. Were light poured into them, it would be seen that they are culs-de-sac, passages that lead to nothing; but, so long as they continue dark, it is not known whither they lead, how far, in what direction, and whether, in fact, they may not issue into paths connected directly with the positive and the infinite. Were it known that upon every path a barrier faces you insurmountable to human steps—like the barriers which fence in the Abyssinian valley of Rasselas—the popularity of this philosophy would expire at once; for no popular interest can long be sustained by speculations which, in every aspect, are known to be essentially negative and essentially finite. Man's nature has something of infinity within itself, which requires a corresponding infinity in its objects. We are told, indeed, by Mr. Bulwer, that the Kantian system has ceased to be of any authority in Germany—that it is defunct, in fact—and that we have first begun to import it into England, after its root had withered, or begun to wither, in its native soil. But Mr. Bulwer is mistaken. The philosophy has never withered in Germany. It cannot even be said that its fortunes have retrograded: they have oscillated: accidents of taste and ability in particular professors, or caprices of fashion, have given a momentary fluctuation to this or that new form of Kantianism,—an ascendency, for a period, to various, and, in some respects, conflicting, modifications of the transcendental system; but all alike have derived their power mediately from Kant. No weapons, even if employed as hostile weapons, are now forged in any armoury but that of Kant; and, to repeat a Roman figure which I used above, all the modern polemic tactics of what is called metaphysics, are trained and made to move either ejus ductu