第56章

But, if art and the invention of the human mind are exhaustless, science is even more notoriously so. We stand but on the threshold of the knowledge of nature, and of the various ways in which physical power may be brought to operate for the accommodation of man. This is a business that seems to be perpetually in progress; and, like the fall of bodies by the power of gravitation, appears to gain in momentum, in proportion as it advances to a greater distance from the point at which the impulse was given. The discoveries which at no remote period have been made, would, if prophesied of, have been laughed to scorn by the ignorant sluggishness of former generations; and we are equally ready to regard with incredulity the discoveries yet unmade, which will be familiar to our posterity. Indeed every man of a capacious and liberal mind is willing to admit, that the progress of human understanding in science, which is now going on, is altogether without any limits that by the most penetrating genius can be assigned. It is like a mighty river, that flows on for ever and for ever, as far as the words, "for ever," can have a meaning to the comprehension of mortals. The question that remains is, our practicable improvement in literature and morals, and here those persons who entertain a mean opinion of human nature, are constantly ready to tell us that it will be found to amount to nothing. However we may be continually improving in mechanical knowledge and ingenuity, we are assured by this party, that we shall never surpass what has already been done in poetry and literature, and, which is still worse, that, however marvellous may be our future acquisitions in science and the application of science, we shall be, as much as ever, the creatures of that vanity, ostentation, opulence and the spirit of exclusive accumulation, which has hitherto, in most countries (not in all countries), generated the glaring inequality of property, and the oppression of the many for the sake of pampering the folly of the few.

There is another circumstance that may be mentioned, which, particularly as regards the question of repetition and novelty that is now under consideration, may seem to operate in an eminent degree in favour of science, while it casts a most discouraging veil over poetry and the pure growth of human fancy and invention. Poetry is, after all, nothing more than new combinations of old materials. Nihil est in intellectu, quod non fuit prius in sensu. The poet has perhaps in all languages been called a maker, a creator: but this seems to be a vain-glorious and an empty boast. He is a collector of materials only, which he afterwards uses as best he may be able. He answers to the description I have heard given of a tailor, a man who cuts to pieces whatever is delivered to him from the loom, that he may afterwards sew it together again. The poet therefore, we may be told, adds nothing to the stock of ideas and conceptions already laid up in the storehouse of mind. But the man who is employed upon the secrets of nature, is eternally in progress; day after day he delivers in to the magazine of materials for thinking and acting, what was not there before; he increases the stock, upon which human ingenuity and the arts of life are destined to operate. He does not, as the poet may be affirmed by his censurers to do, travel for ever in a circle, but continues to hasten towards a goal, while at every interval we may mark how much further he has proceeded from the point at which his race began.

Much may be said in answer to this, and in vindication and honour of the poet and the artist. All that is here alleged to their disadvantage, is in reality little better than a sophism. The consideration of the articles he makes use of, does not in sound estimate detract from the glories of which he is the artificer.

Materiem superat opus. He changes the nature of what he handles; all that he touches is turned into gold. The manufacture he delivers to us is so new, that the thing it previously was, is no longer recognisable. The impression that he makes upon the imagination and the heart, the impulses that he communicates to the understanding and the moral feeling, are all his own; and, "if there is any thing lovely and of good report, if there is any virtue and any praise," he may well claim our applauses and our thankfulness for what he has effected.

There is a still further advantage that belongs to the poet and the votarist of polite literature, which ought to be mentioned, as strongly calculated to repress the arrogance of the men of science, and the supercilious contempt they are apt to express for those who are engrossed by the pursuits of imagination and taste. They are for ever talking of the reality and progressiveness of their pursuits, and telling us that every step they take is a point gained, and gained for the latest posterity, while the poet merely suits himself to the taste of the men among whom he lives, writes up to the fashion of the day, and, as our manners turn, is sure to be swept away to the gulph of oblivion.

But how does the matter really stand? It is to a great degree the very reverse of this.

The natural and experimental philosopher has nothing sacred and indestructible in the language and form in which he delivers truths. New discoveries and experiments come, and his individual terms and phrases and theories perish. One race of natural philosophers does but prepare the way for another race, which is to succeed. They "blow the trumpet, and give out the play." And they must be contented to perish before the brighter knowledge, of which their efforts were but the harbingers. The Ptolemaic system gave way to Tycho Brahe, and his to that of Copernicus.

The vortices of Descartes perished before the discoveries of Newton; and the philosophy of Newton already begins to grow old, and is found to have weak and decaying parts mixed with those which are immortal and divine. In the science of mind Aristotle and Plato are set aside; the depth of Malebranche, and the patient investigation of Locke have had their day; more penetrating, and concise, and lynx-eyed reasoners of our own country have succeeded; the German metaphysicians seem to have thrust these aside; and it perhaps needs no great degree of sagacity to foresee, that Kant and Fichte will at last fare no better than those that went before them.

But the poet is immortal. The verses of Homer are of workmanship no less divine, than the armour of his own Achilles. His poems are as fresh and consummate to us now, as they were to the Greeks, when the old man of Chios wandered in person through the different cities, rehearsing his rhapsodies to the accompaniment of his lute. The language and the thoughts of the poet are inextricably woven together; and the first is no more exposed to decay and to perish than the last. Presumptuous innovators have attempted to modernise Chaucer, and Spenser, and other authors, whose style was supposed to have grown obsolete. But true taste cannot endure the impious mockery. The very words that occurred to these men, when the God descended, and a fire from heaven tingled in all their veins, are sacred, are part of themselves; and you may as well attempt to preserve the man when you have deprived him of all his members, as think to preserve the poet when you have taken away the words that he spoke. No part of his glorious effusions must perish; and "the hairs of his head are all numbered."