Burke - John Morley

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we have nothing to do but to conform as quietly as we can to the vulgar notions which are connected with this, and take up the theology of the vulgar as well as their politics. But if we think this necessity rather imaginary than real, we should renounce their dreams of society, together with their visions of religion, and vindicate ourselves into perfect liberty."

      The most interesting fact about this spirited performance is, that it is a satirical literary handling of the great proposition which Burke enforced, with all the thunder and lurid effulgence of his most passionate rhetoric, five and thirty years later. This proposition is that the world would fall into ruin, "if the practice of all moral duties, and the foundations of society, rested upon having their reasons made clear and demonstrative to every individual." The satire is intended for an illustration of what with Burke was the cardinal truth for men, namely, that if you encourage every individual to let the imagination loose upon all subjects, without any restraint from a sense of his own weakness, and his subordinate rank in the long scheme of things, then there is nothing of all that the opinion of ages has agreed to regard as excellent and venerable, which would not be exposed to destruction at the hands of rationalistic criticism. This was Burke's most fundamental and unswerving conviction from the first piece that he wrote down to the last, and down to the last hour of his existence.

      It is a coincidence worth noticing that only two years before the appearance of the Vindication, Rousseau had published the second of the two memorable Discourses in which he insisted with serious eloquence on that which Burke treats as a triumph of irony. He believed, and many thousands of Frenchmen came to a speculative agreement with him, that artificial society had marked a decline in the felicity of man, and there are passages in the Discourse in which he demonstrates this, that are easily interchangeable with passages in the Vindication. Who would undertake to tell us from internal evidence whether the following page, with its sombre glow, is an extract from Burke, or an extract from the book which Rousseau begins by the sentence that man is born free, yet is he everywhere in chains?—

      There are in Great Britain upwards of a hundred thousand people employed in lead, tin, iron, copper, and coal mines; these unhappy wretches scarce ever see the light of the sun; they are buried in the bowels of the earth; there they work at a severe and dismal task, without the least prospect of being delivered from it; they subsist upon the coarsest and worst sort of fare; they have their health miserably impaired, and their lives cut short, by being perpetually confined in the close vapour of these malignant minerals. A hundred thousand more at least are tortured without remission by the suffocating smoke, intense fires, and constant drudgery, necessary in refining and managing the products of those mines. If any man informed us that two hundred thousand innocent persons were condemned to so intolerable slavery, how should we pity the unhappy sufferers, and how great would be our just indignation against those who inflicted so cruel and ignominious a punishment! … But this number, considerable as it is, and the slavery, with all its baseness and horror, which we have at home, is nothing to what the rest of the world affords of the same nature. Millions daily bathed in the poisonous damps and destructive effluvia of lead, silver, copper, and arsenic, to say nothing of those other employments, those stations of wretchedness and contempt, in which civil society has placed the numerous enfans perdus of her army. Would any rational man submit to one of the most tolerable of these drudgeries, for all the artificial enjoyments which policy has made to result from them? … Indeed the blindness of one part of mankind co-operating with the frenzy and villainy of the other, has been the real builder of this respectable fabric of political society: and as the blindness of mankind has caused their slavery, in return their state of slavery is made a pretence for continuing them in a state of blindness; for the politician will tell you gravely that their life of servitude disqualifies the greater part of the race of man for a search of truth, and supplies them with no other than mean and insufficient ideas. This is but too true; and this is one of the reasons for which I blame such institutions.

      From the very beginning, therefore, Burke was drawn to the deepest of all the currents in the thought of the eighteenth century. Johnson and Goldsmith continued the traditions of social and polite literature which had been established by the Queen Anne men. Warburton and a whole host of apologists carried on the battle against deism and infidelity. Hume, after furnishing the arsenal of scepticism with a new array of deadlier engines and more abundant ammunition, had betaken himself placidly to the composition of history. What is remarkable in Burke's first performance is his discernment of the important fact, that behind the intellectual disturbances in the sphere of philosophy, and the noisier agitations in the sphere of theology, there silently stalked a force that might shake the whole fabric of civil society itself. In France, as all students of its speculative history are agreed, there came a time in the eighteenth century when theological controversy was turned into political controversy. Innovators left the question about the truth of Christianity, and busied themselves with questions about the ends and means of governments. The appearance of Burke's Vindication of Natural Society coincides in time with the beginning of this important transformation. Burke foresaw from the first what, if rationalism were allowed to run an unimpeded course, would be the really great business of the second halt of his century.

      If in his first book Burke showed how alive he was to the profound movement of the time, in the second he dealt with one of the most serious of its more superficial interests. The essay on the Sublime and Beautiful fell in with a set of topics on which the curiosity of the better minds of the age, alike in France, England, and Germany, was fully stirred. In England the essay has been ordinarily slighted; it has perhaps been overshadowed by its author's fame in weightier matters. The nearest approach to a full and serious treatment of its main positions is to be found in Dugald Stewart's lectures. The great rhetorical art-critic of our own day refers to it in words of disparagement, and in truth it has none of the flummery of modern criticism. It is a piece of hard thinking, and it has the distinction of having interested and stimulated Lessing, the author of Laoköon (1766), by far the most definitely valuable of all the contributions to aesthetic thought in an age which was not poor in them. Lessing was so struck with the Inquiry that he set about a translation of it, and the correspondence between him and Moses Mendelssohn on the questions which Burke had raised contains the germs of the doctrine as to poetry and painting which Laoköon afterwards made so famous. Its influence on Lessing and on Kant was such as to justify the German historian of the literature of the century in bestowing on it the coveted epithet of epoch-making.

      The book is full of crudities. We feel the worse side of the eighteenth century when Burke tells us that a thirst for Variety in architecture is sure to leave very little true taste; or that an air of robustness and strength is very prejudicial to beauty; or that sad fuscous colours are indispensable for sublimity. Many of the sections, again, are little more than expanded definitions from the dictionary. Any tyro may now be shocked at such a proposition as that beauty acts by relaxing the solids of the whole system. But at least one signal merit remains to the Inquiry. It was a vigorous enlargement of the principle, which Addison had not long before timidly illustrated, that critics of art seek its principles in the wrong place, so long as they limit their search to poems, pictures, engravings, statues, and buildings, instead of first arranging the sentiments and faculties in man to which art makes its appeal. Addison's treatment was slight and merely literary; Burke dealt boldly with his subject on the base of the most scientific psychology that was then within his reach. To approach it on the psychological side at all was to make a distinct and remarkable advance in the method of the inquiry which he had taken in hand.

       Table of Contents

      IN IRELAND—PARLIAMENT—BEACONSFIELD

      Burke was thirty years old before he approached even the threshold of the arena in which he was destined to be so great a figure. He had made a mark in literature, and it was to literature rather than to public affairs that his ambition turned. He had naturally become acquainted with the brother-authors who haunted the coffee-houses in Fleet Street; and Burke, along with his father-in-law, Dr. Nugent, was one of the first members of the immortal club where Johnson did conversational battle with

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