Literary Character of Men of Genius | Page 4

for the Sabbath-day 426
The Sabbatarian controversy 428
The motives of his aversion to war 430
James acknowledges his dependence on the Commons; their conduct
431
Of certain scandalous chronicles 434

A picture of the age from a manuscript of the times 437
Anecdotes of the manners of the age 441
James I. discovers the disorders and discontents of a peace of more than
twenty years 449
The King's private life in his occasional retirements 450
A detection of the discrepancies of opinion among the decriers of
James I 451
Summary of his character 455

TO
ROBERT SOUTHEY, LL.D.,
&c. &c. &c.
In dedicating this Work to one of the most eminent literary characters
of the age, I am experiencing a peculiar gratification, in which few,
perhaps none, of my contemporaries can participate; for I am
addressing him, whose earliest effusions attracted my regard, near half
a century past; and during that awful interval of time--for fifty years is
a trial of life of whatever may be good in us--you have multiplied your
talents, and have never lost a virtue.
When I turn from the uninterrupted studies of your domestic solitude to
our metropolitan authors, the contrast, if not encouraging, is at least
extraordinary. You are not unaware that the revolutions of Society have
operated on our literature, and that new classes of readers have called
forth new classes of writers. The causes and the consequences of the
present state of this fugitive literature might form an inquiry which
would include some of the important topics which concern the PUBLIC
MIND, --but an inquiry which might be invidious shall not disturb a
page consecrated to the record of excellence. They who draw their

inspiration from the hour must not, however, complain if with that hour
they pass away.
I. DISRAELI.

INTRODUCTION.

For the fifth time I revise a subject which has occupied my inquiries
from early life, with feelings still delightful, and an enthusiasm not
wholly diminished.
Had not the principle upon which this work is constructed occurred to
me in my youth, the materials which illustrate the literary character
could never have been brought together. It was in early life that I
conceived the idea of pursuing the history of genius by the similar
events which had occurred to men of genius. Searching into literary
history for the literary character formed a course of experimental
philosophy in which every new essay verified a former trial, and
confirmed a former truth. By the great philosophical principle of
induction, inferences were deduced and results established, which,
however vague and doubtful in speculation, are irresistible when the
appeal is made to facts as they relate to others, and to feelings which
must be decided on as they are passing in our own breast.
It is not to be inferred from what I have here stated that I conceive that
any single man of genius will resemble every man of genius; for not
only man differs from man, but varies from himself in the different
stages of human life. All that I assert is, that every man of genius will
discover, sooner or later, that he belongs to the brotherhood of his class,
and that he cannot escape from certain habits, and feelings, and
disorders, which arise from the same temperament and sympathies, and
are the necessary consequence of occupying the same position, and
passing through the same moral existence. Whenever we compare men
of genius with each other, the history of those who are no more will
serve as a perpetual commentary on our contemporaries. There are,

indeed, secret feelings which their prudence conceals, or their fears
obscure, or their modesty shrinks from, or their pride rejects; but I have
sometimes imagined that I have held the clue as they have lost
themselves in their own labyrinth. I know that many, and some of great
celebrity, have sympathised with the feelings which inspired these
volumes; nor, while I have elucidated the idiosyncrasy of genius, have I
less studied the habits and characteristics of the lovers of literature.
It has been considered that the subject of this work might have been
treated with more depth of metaphysical disquisition; and there has
since appeared an attempt to combine with this investigation the
medical science. A work, however, should be judged by its design and
its execution, and not by any preconceived notion of what it ought to be
according to the critic, rather than the author. The nature of this work is
dramatic rather than metaphysical. It offers a narration or a description;
a conversation or a monologue; an incident or a scene.
Perhaps I have sometimes too warmly apologised for the infirmities of
men of genius. From others we may hourly learn to treat with levity the
man of genius because he is