John Morley

The Life of William Ewart Gladstone (Vol. 1-3)


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any, among the higher classes who are eager or willing to obstruct the moral instruction and mental improvement of their fellow creatures in the humbler walks of life. If such there are, let them at length remember that the poor are endowed with the same reason, though not blessed with the same temporal advantages. Let them but admit, what I think no one can deny, that they are placed in an elevated situation principally for the purpose of doing good to their fellow creatures. Then by what argument can they repel, by what pretence can they evade the duty?' And so forth and so forth. Already we seem to hear the born speaker in the amplitude of rhetorical form in which, juvenile though it may be, a commonplace is cast. 'Is human grandeur so stable that they may deny to others that which they would in an humble situation desire themselves? Or has human pride reached such a pitch of arrogance that they have learned to defy both right and reason, to reject the laws of natural kindness that ought to reign in the breast of all, and to look on their fellow countrymen as the refuse of mankind?... Is it morally just or politically expedient to keep down the industry and genius of the artisan, to blast his rising hopes, to quell his spirit? A thirst for knowledge has arisen in the minds of the poor; let them satisfy it with wholesome nutriment and beware lest driven to despair,' et cetera. Crude enough, if we please; but the year was 1826, and we may feel that the boyish speaker is already on the generous side and has the gift of fruitful sympathies.

      ETON MISCELLANY

      As for the Eton Miscellany, which was meant to follow earlier attempts in the same line, the best-natured critic cannot honestly count it dazzling. Such things rarely are; for youth, though the most adorable of our human stages, cannot yet have knowledge or practice enough, whether in life or books, to make either good prose or stirring verse, unless by a miracle of genius, and even that inspiration is but occasional. The Microcosm (1786-87) and the Etonian (1818), with such hands as Canning and Frere, Moultrie and Praed, were well enough. The newcomer was a long way behind these in the freshness, brilliance, daring, by which only such juvenile performances can either please or interest. George Selwyn and Gladstone were joint editors, and each provided pretty copious effusions. 'I cannot keep my temper,' he wrote afterwards in his diary in 1835, on turning over the Miscellany, 'in perusing my own (with few exceptions) execrable productions.' Certainly his contributions have no particular promise or savour, no hint of the strong pinions into which the half-fledged wings were in time to expand. Their motion, such as it is, must be pronounced mechanical; their phrase and cadence conventional. Even when sincere feelings were deeply stirred, the flight cannot be called high. The most moving public event in his schooldays was undoubtedly the death of Canning, and to Gladstone the stroke was almost personal. In September 1827 he tells his mother that he has for the first time visited Westminster Abbey,—his object, an eager pilgrimage to the newly tenanted grave of his hero, and in the Miscellany he pays a double tribute. In the prose we hear sonorous things about meridian splendour, premature extinction, and inscrutable wisdom; about falling, like his great master Pitt, a victim to his proud and exalted station; about being firm in principle and conciliatory in action, the friend of improvement and the enemy of innovation. Nor are the versified reflections in Westminster Abbey much more striking:—

      Oft in the sculptured aisle and swelling dome,

       The yawning grave hath given the proud a home;

       Yet never welcomed from his bright career

       A mightier victim than it welcomed here:

       Again the tomb may yawn—again may death

       Claim the last forfeit of departing breath;

       Yet ne'er enshrine in slumber dark and deep

       A nobler, loftier prey than where thine ashes sleep.

      Excellent in feeling, to be sure; but as a trial of poetic delicacy or power, wanting the true note, and only worth recalling for an instant as we go.

      III

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