1834-1839. 2ET. 20-25.
RETURN TO AMERICA.--STUDY OF LAW.--MARRIAGE.--HIS FIRST NOVEL, "MORTON'S HOPE."
Of the years passed in the study of law after his return from Germany I have very little recollection, and nothing of importance to record. He never became seriously engaged in the practice of the profession he had chosen. I had known him pleasantly rather than intimately, and our different callings tended to separate us. I met him, however, not very rarely, at one house where we were both received with the greatest cordiality, and where the attractions brought together many both young and old to enjoy the society of its charming and brilliant inmates. This was at No. 14 Temple Place, where Mr. Park Benjamin was then living with his two sisters, both in the bloom of young womanhood. Here Motley found the wife to whom his life owed so much of its success and its happiness. Those who remember Mary Benjamin find it hard to speak of her in the common terms of praise which they award to the good and the lovely. She was not only handsome and amiable and agreeable, but there was a cordial frankness, an openhearted sincerity about her which made her seem like a sister to those who could help becoming her lovers. She stands quite apart in the memory of the friends who knew her best, even from the circle of young persons whose recollections they most cherish. Yet hardly could one of them have foreseen all that she was to be to him whose life she was to share. They were married on the 2d of March, 1837. His intimate friend, Mr. Joseph Lewis Stackpole, was married at about the same time to her sister, thus joining still more closely in friendship the two young men who were already like brothers in their mutual affection.
Two years after his marriage, in 1839, appeared his first work, a novel in two volumes, called "Morton's Hope." He had little reason to be gratified with its reception. The general verdict was not favorable to it, and the leading critical journal of America, not usually harsh or cynical in its treatment of native authorship, did not even give it a place among its "Critical Notices," but dropped a small-print extinguisher upon it in one of the pages of its "List of New Publications." Nothing could be more utterly disheartening than the unqualified condemnation passed upon the story. At the same time the critic says that "no one can read 'Morton's Hope' without perceiving it to have been written by a person of uncommon resources of mind and scholarship."
It must be confessed that, as a story, "Morton's Hope" cannot endure a searching or even a moderately careful criticism. It is wanting in cohesion, in character, even in a proper regard to circumstances of time and place; it is a map of dissected incidents which has been flung out of its box and has arranged itself without the least regard to chronology or geography. It is not difficult to trace in it many of the influences which had helped in forming or deforming the mind of the young man of twenty-five, not yet come into possession of his full inheritance of the slowly ripening qualities which were yet to assert their robust independence. How could he help admiring Byron and falling into more or less unconscious imitation of his moods if not of his special affectations? Passion showing itself off against a dark foil of cynicism; sentiment, ashamed of its own self-betrayal, and sneering at itself from time to time for fear of the laugh of the world at its sincerity,--how many young men were spoiled and how many more injured by becoming bad copies of a bad ideal! The blood of Don Juan ran in the veins of Vivian Grey and of Pelham. But if we read the fantastic dreams of Disraeli, the intellectual dandyisms of Bulwer, remembering the after careers of which these were the preludes, we can understand how there might well be something in those earlier efforts which would betray itself in the way of thought and in the style of the young men who read them during the plastic period of their minds and characters. Allow for all these influences, allow for whatever impressions his German residence and his familiarity with German literature had produced; accept the fact that the story is to the last degree disjointed, improbable, impossible; lay it aside as a complete failure in what it attempted to be, and read it, as "Vivian Grey" is now read, in the light of the career which it heralded.
"Morton's Hope" is not to be read as a novel: it is to be studied as an autobiography, a prophecy, a record of aspirations, disguised under a series of incidents which are flung together with no more regard to the unities than a pack of shuffled playing-cards. I can do nothing better than let him picture himself, for it is impossible not to recognize the portrait. It is of little consequence whether every trait is an exact copy from his own features, but it is so obvious that many of the lines are direct transcripts from nature that we may believe the same thing of many others. Let us compare his fictitious hero's story with what we have read of his own life.
In early boyhood Morton amused himself and astonished those about him by enacting plays for a puppet theatre. This was at six years old, and at twelve we find him acting in a play with other boys, just as Motley's playmates have already described him. The hero may now speak for himself, but we shall all perceive that we are listening to the writer's own story.
"I was always a huge reader; my mind was essentially craving and insatiable. Its appetite was enormous, and it devoured too greedily for health. I rejected all guidance in my studies. I already fancied myself a misanthrope. I had taken a step very common for boys of my age, and strove with all my might to be a cynic."
He goes on to describe, under the perfectly transparent mask of his hero, the course of his studies. "To poetry, like most infants, I devoted most of my time." From modern poetry he went back to the earlier sources, first with the idea of systematic reading and at last through Chaucer and Gower and early ballads, until he lost himself "in a dismal swamp of barbarous romances and lying Latin chronicles. I got hold of the Bibliotheca Monastica, containing a copious account of Anglo-Norman authors, with notices of their works, and set seriously to reading every one of them." One profit of his antiquarianism, however, was, as he says, his attention to foreign languages,--French, Spanish, German, especially in their earliest and rudest forms of literature. From these he ascended to the ancient poets, and from Latin to Greek. He would have taken up the study of the Oriental languages, but for the advice of a relative, who begged him seriously to turn his attention to history. The paragraph which follows must speak for itself as a true record under a feigned heading.
"The groundwork of my early character was plasticity and fickleness. I was mortified by this exposure of my ignorance, and disgusted with my former course of reading. I now set myself violently to the study of history. With my turn of mind, and with the preposterous habits which I had been daily acquiring, I could not fail to make as gross mistakes in the pursuit of this as of other branches of knowledge. I imagined, on setting out, a system of strict and impartial investigation of the sources of history. I was inspired with the absurd ambition, not uncommon to youthful students, of knowing as much as their masters. I imagined it necessary for me, stripling as I was, to study the authorities; and, imbued with the strict necessity of judging for myself, I turned from the limpid pages of the modern historians to the notes and authorities at the bottom of the page. These, of course, sent me back to my monastic acquaintances, and I again found myself in such congenial company to a youthful and ardent mind as Florence of Worcester and Simeon of Durham, the Venerable Bede and Matthew Paris; and so on to Gregory and Fredegarius, down to the more modern and elegant pages of Froissart, Hollinshed, Hooker, and Stowe. Infant as I was, I presumed to grapple with masses of learning almost beyond the strength of the giants of history. A spendthrift of my time and labor, I went out of my way to collect materials, and to build for myself, when I should have known that older and abler architects had already appropriated all that was worth preserving; that the edifice was built, the quarry exhausted, and that I was, consequently, only delving amidst rubbish.
"This course of study was not absolutely without its advantages. The mind gained a certain proportion of vigor even by this exercise of its faculties, just as my bodily health would have been improved by transporting the refuse ore of a mine from one pit to another, instead of coining the ingots which lay heaped before my eyes. Still, however, my time was squandered. There was a constant want of fitness and concentration of my energies. My dreams of education were boundless, brilliant, indefinite; but alas! they were only dreams. There was nothing accurate and defined in my future course of life. I was ambitious and conceited, but my aspirations were vague and shapeless. I had crowded together the most gorgeous and even some of the most useful and durable materials for my woof, but I had no pattern, and consequently never began to weave.
"I had not made the discovery that an individual cannot learn, nor be, everything; that the world is a factory in which each individual must perform his portion of work:--happy enough if he can choose it according to his taste and talent, but must renounce the desire of observing or superintending the whole operation. . . .
"From studying and investigating the sources of history with my own eyes, I went a step further; I refused the guidance of modern writers; and proceeding from one point of presumption to another, I came to the magnanimous conviction that I could not know history as I ought to know it unless I wrote it for myself. . . .
"It would be tedious and useless to enlarge upon my various attempts and various failures. I forbear to comment upon mistakes which I was in time wise enough to retrieve. Pushing out as I did, without compass and without experience, on the boundless ocean of learning, what could I expect but an utter and a hopeless shipwreck?
"Thus I went on, becoming more learned, and therefore more ignorant, more confused in my brain, and more awkward in my habits, from day to day. I was ever at my studies, and could hardly be prevailed upon to allot a moment to exercise or recreation. I breakfasted with a pen behind my ear, and dined in company with a folio bigger than the table. I became solitary and morose, the necessary consequence of reckless study; talked impatiently of the value of my time, and the immensity of my labors; spoke contemptuously of the learning and acquirements of the whole world, and threw out mysterious hints of the magnitude and importance of my own project.
"In the midst of all this study and this infant authorship the perusal of such masses of poetry could not fail to produce their effect. Of a youth whose mind, like mine at that period, possessed some general capability, without perhaps a single prominent and marked talent, a proneness to imitation is sure to be the besetting sin. I consequently, for a large portion of my earlier life, never read a work which struck my fancy, without planning a better one upon its model; for my ambition, like my vanity, knew no bounds. It was a matter of course that I should be attacked by the poetic mania. I took the infection at the usual time, went through its various stages, and recovered as soon as could be expected. I discovered soon enough that emulation is not capability, and he is fortunate to whom is soonest revealed the relative extent of his ambition and his powers.
"My ambition was boundless; my dreams of glory were not confined to authorship and literature alone; but every sphere in which the intellect of man exerts itself revolved in a blaze of light before me. And there I sat in my solitude and dreamed such wondrous dreams! Events were thickening around me which were soon to change the world, but they were unmarked by me. The country was changing to a mighty theatre, on whose stage those who were as great as I fancied myself to be were to enact a stupendous drama in which I had no part. I saw it not; I knew it not; and yet how infinitely beautiful were the imaginations of my solitude! Fancy shook her kaleidoscope each moment as chance directed, and lo! what new, fantastic, brilliant, but what unmeaning visions. My ambitious anticipations were as boundless as they were various and conflicting. There was not a path which leads to glory in which I was not destined to gather laurels. As a warrior I would conquer and overrun the world. As a statesman I would reorganize and govern it. As a historian I would consign it all to immortality; and in my leisure moments I would be a great poet and a man of the world.
"In short, I was already enrolled in that large category of what are called young men of genius,--men who are the pride of their sisters and the glory of their grandmothers,--men of whom unheard-of things are expected, till after long preparation comes a portentous failure, and then they are forgotten; subsiding into indifferent apprentices and attorneys' clerks.
"Alas for the golden imaginations of our youth! They are bright and beautiful, but they fade. They glitter brightly enough to deceive the wisest and most cautious, and we garner them up in the most secret caskets of our hearts; but are they not like the coins which the Dervise gave the merchant in the story? When we look for them the next morning, do we not find them withered leaves?"
The ideal picture just drawn is only a fuller portraiture of the youth whose outlines have been already sketched by the companions of his earlier years. If his hero says, "I breakfasted with a pen behind my ear and dined in company with a folio bigger than the table," one of his family says of the boy Motley that "if there were five minutes before dinner, when he came into the parlor he always took up some book near at hand and began to read until dinner was announced." The same unbounded thirst for knowledge, the same history of various attempts and various failures, the same ambition, not yet fixed in its aim, but showing itself in restless effort, belong to the hero of the story and its narrator.
Let no man despise the first efforts of immature genius. Nothing can be more crude as a novel, nothing more disappointing, than "Morton's Hope." But in no other of Motley's writings do we get such an inside view of his character with its varied impulses, its capricious appetites, its unregulated forces, its impatient grasp for all kinds of knowledge. With all his university experiences at home and abroad, it might be said with a large measure of truth that he was a self-educated man, as he had been a self-taught boy. His instincts were too powerful to let him work quietly in the common round of school and college training. Looking at him as his companions describe him, as he delineates himself 'mutato nomine,' the chances of success would have seemed to all but truly prophetic eyes very doubtful, if not decidedly against him. Too many brilliant young novel-readers and lovers of poetry, excused by their admirers for their shortcomings on the strength of their supposed birthright of "genius," have ended where they began; flattered into the vain belief that they were men at eighteen or twenty, and finding out at fifty that they were and always had been nothing more than boys. It was but a tangled skein of life that Motley's book showed us at twenty-five, and older men might well have doubted whether it would ever be wound off in any continuous thread. To repeat his own words, he had crowded together the materials for his work, but he had no pattern, and consequently never began to weave.
The more this first work of Motley's is examined, the more are its faults as a story and its interest as a self-revelation made manifest to the reader. The future historian, who spared no pains to be accurate, falls into the most extraordinary anachronisms in almost every chapter. Brutus in a bob-wig, Othello in a swallow-tail coat, could hardly be more incongruously equipped than some of his characters in the manner of thought, the phrases, the way of bearing themselves which belong to them in the tale, but never could have belonged to characters of our Revolutionary period. He goes so far in his carelessness as to mix up dates in such a way as almost to convince us that he never looked over his own manuscript or proofs. His hero is in Prague in June, 1777, reading a letter received from America in less than a fortnight from the date of its being written; in August of the same year he is in the American camp, where he is found in the company of a certain Colonel Waldron, an officer of some standing in the Revolutionary Army, with whom he is said to have been constantly associated for some three months, having arrived in America, as he says, on the 15th of May, that is to say, six weeks or more before he sailed, according to his previous account. Bohemia seems to have bewitched his chronology as it did Shakespeare's geography. To have made his story a consistent series of contradictions, Morton should have sailed from that Bohemian seashore which may be found in "A Winter's Tale," but not in the map of Europe.
And yet in the midst of all these marks of haste and negligence, here and there the philosophical student of history betrays himself, the ideal of noble achievement glows in an eloquent paragraph, or is embodied in a loving portrait like that of the professor and historian Harlem. The novel, taken in connection with the subsequent developments of the writer's mind, is a study of singular interest. It is a chaos before the creative epoch; the light has not been divided from the darkness; the firmament has not yet divided the waters from the waters. The forces at work in a human intelligence to bring harmony out of its discordant movements are as mysterious, as miraculous, we might truly say, as those which give shape and order to the confused materials out of which habitable worlds are evolved. It is too late now to be sensitive over this unsuccessful attempt as a story and unconscious success as a self-portraiture. The first sketches of Paul Veronese, the first patterns of the Gobelin tapestry, are not to be criticised for the sake of pointing out their inevitable and too manifest imperfections. They are to be carefully studied as the earliest efforts of the hand which painted the Marriage at Cana, of the art which taught the rude fabrics made to be trodden under foot to rival the glowing canvas of the great painters. None of Motley's subsequent writings give such an insight into his character and mental history. It took many years to train the as yet undisciplined powers into orderly obedience, and to bring the unarranged materials into the organic connection which was needed in the construction of a work that should endure. There was a long interval between his early manhood and the middle term of life, during which the slow process of evolution was going on. There are plants which open their flowers with the first rays of the sun; there are others that wait until evening to spread their petals. It was already the high noon of life with him before his genius had truly shown itself; if he had not lived beyond this period, he would have left nothing to give him a lasting name.