Chapter 13 - How We Come To Give Ourselves False Testimonials, And Believe In Them
It is my way when I observe any instance of folly, any queer habit, any absurd illusion, straightway to look for something of the same type in myself, feeling sure that amid all differences there will be a certain correspondence; just as there is more or less correspondence in the natural history even of continents widely apart, and of islands in opposite zones. No doubt men's minds differ in what we may call their climate or share of solar energy, and a feeling or tendency which is comparable to a panther in one may have no more imposing aspect than that of a weasel in another: some are like a tropical habitat in which the very ferns cast a mighty shadow, and the grasses are a dry ocean in which a hunter may be submerged; others like the chilly latitudes in which your forest-tree, fit elsewhere to prop a mine, is a pretty miniature suitable for fancy potting. The eccentric man might be typified by the Australian fauna, refuting half our judicious assumptions of what nature allows. Still, whether fate commanded us to thatch our persons among the Eskimos or to choose the latest thing in tattooing among the Polynesian isles, our precious guide Comparison would teach us in the first place by likeness, and our clue to further knowledge would be resemblance to what we already know. Hence, having a keen interest in the natural history of my inward self, I pursue this plan I have mentioned of using my observation as a clue or lantern by which I detect small herbage or lurking life; or I take my neighbour in his least becoming tricks or efforts as an opportunity for luminous deduction concerning the figure the human genus makes in the specimen which I myself furnish.
Introspection which starts with the purpose of finding out one's own absurdities is not likely to be very mischievous, yet of course it is not free from dangers any more than breathing is, or the other functions that keep us alive and active. To judge of others by oneself is in its most innocent meaning the briefest expression for our only method of knowing mankind; yet, we perceive, it has come to mean in many cases either the vulgar mistake which reduces every man's value to the very low figure at which the valuer himself happens to stand; or else, the amiable illusion of the higher nature misled by a too generous construction of the lower. One cannot give a recipe for wise judgment: it resembles appropriate muscular action, which is attained by the myriad lessons in nicety of balance and of aim that only practice can give. The danger of the inverse procedure, judging of self by what one observes in others, if it is carried on with much impartiality and keenness of discernment, is that it has a laming effect, enfeebling the energies of indignation and scorn, which are the proper scourges of wrong-doing and meanness, and which should continually feed the wholesome restraining power of public opinion. I respect the horsewhip when applied to the back of Cruelty, and think that he who applies it is a more perfect human being because his outleap of indignation is not checked by a too curious reflection on the nature of guilt - a more perfect human being because he more completely incorporates the best social life of the race, which can never be constituted by ideas that nullify action. This is the essence of Dante's sentiment (it is painful to think that he applies it very cruelly) -
and it is undeniable that a too intense consciousness of one's kinship with all frailties and vices undermines the active heroism which battles against wrong.
But certainly nature has taken care that this danger should not at present be very threatening. One could not fairly describe the generality of one's neighbours as too lucidly aware of manifesting in their own persons the weaknesses which they observe in the rest of her Majesty's subjects; on the contrary, a hasty conclusion as to schemes of Providence might lead to the supposition that one man was intended to correct another by being most intolerant of the ugly quality or trick which he himself possesses. Doubtless philosophers will be able to explain how it must necessarily be so, but pending the full extension of the à priori method, which will show that only blockheads could expect anything to be otherwise, it does seem surprising that Heloisa should be disgusted at Laura's attempts to disguise her age, attempts which she recognises so thoroughly because they enter into her own practice; that Semper, who often responds at public dinners and proposes resolutions on platforms, though he has a trying gestation of every speech and a bad time for himself and others at every delivery, should yet remark pitilessly on the folly of precisely the same course of action in Ubique; that Aliquis, who lets no attack on himself pass unnoticed, and for every handful of gravel against his windows sends a stone in reply, should deplore the ill-advised retorts of Quispiam, who does not perceive that to show oneself angry with an adversary is to gratify him. To be unaware of our own little tricks of manner or our own mental blemishes and excesses is a comprehensible unconsciousness; the puzzling fact is that people should apparently take no account of their deliberate actions, and should expect them to be equally ignored by others. It is an inversion of the accepted order: there it is the phrases that are official and the conduct or privately manifested sentiment that is taken to be real; here it seems that the practice is taken to be official and entirely nullified by the verbal representation which contradicts it. The thief making a vow to heaven of full restitution and whispering some reservations, expecting to cheat Omniscience by an "aside," is hardly more ludicrous than the many ladies and gentlemen who have more belief, and expect others to have it, in their own statement about their habitual doings than in the contradictory fact which is patent in the daylight. One reason of the absurdity is that we are led by a tradition about ourselves, so that long after a man has practically departed from a rule or principle, he continues innocently to state it as a true description of his practice - just as he has a long tradition that he is not an old gentleman, and is startled when he is seventy at overhearing himself called by an epithet which he has only applied to others.
[Footnote 1: Inferno, xxxii. 150.]
"A person with your tendency of constitution should take as little sugar as possible," said Pilulus to Bovis somewhere in the darker decades of this century. "It has made a great difference to Avis since he took my advice in that matter: he used to consume half a pound a-day."
"God bless me!" cries Bovis. "I take very little sugar myself."
"Twenty-six large lumps every day of your life, Mr Bovis," says his wife.
"No such thing!" exclaims Bovis.
"You drop them into your tea, coffee, and whisky yourself, my dear, and I count them."
"Nonsense!" laughs Bovis, turning to Pilulus, that they may exchange a glance of mutual amusement at a woman's inaccuracy.
But she happened to be right. Bovis had never said inwardly that he would take a large allowance of sugar, and he had the tradition about himself that he was a man of the most moderate habits; hence, with this conviction, he was naturally disgusted at the saccharine excesses of Avis.
I have sometimes thought that this facility of men in believing that they are still what they once meant to be - this undisturbed appropriation of a traditional character which is often but a melancholy relic of early resolutions, like the worn and soiled testimonial to soberness and honesty carried in the pocket of a tippler whom the need of a dram has driven into peculation - may sometimes diminish the turpitude of what seems a flat, barefaced falsehood. It is notorious that a man may go on uttering false assertions about his own acts till he at last believes in them: is it not possible that sometimes in the very first utterance there may be a shade of creed-reciting belief, a reproduction of a traditional self which is clung to against all evidence? There is no knowing all the disguises of the lying serpent.
When we come to examine in detail what is the sane mind in the sane body, the final test of completeness seems to be a security of distinction between what we have professed and what we have done; what we have aimed at and what we have achieved; what we have invented and what we have witnessed or had evidenced to us; what we think and feel in the present and what we thought and felt in the past.
I know that there is a common prejudice which regards the habitual confusion of now and then, of it was and it is, of _it seemed so_ and I should like it to be so, as a mark of high imaginative endowment, while the power of precise statement and description is rated lower, as the attitude of an everyday prosaic mind. High imagination is often assigned or claimed as if it were a ready activity in fabricating extravagances such as are presented by fevered dreams, or as if its possessors were in that state of inability to give credible testimony which would warrant their exclusion from the class of acceptable witnesses in a court of justice; so that a creative genius might fairly be subjected to the disability which some laws have stamped on dicers, slaves, and other classes whose position was held perverting to their sense of social responsibility.
This endowment of mental confusion is often boasted of by persons whose imaginativeness would not otherwise be known, unless it were by the slow process of detecting that their descriptions and narratives were not to be trusted. Callista is always ready to testify of herself that she is an imaginative person, and sometimes adds in illustration, that if she had taken a walk and seen an old heap of stones on her way, the account she would give on returning would include many pleasing particulars of her own invention, transforming the simple heap into an interesting castellated ruin. This creative freedom is all very well in the right place, but before I can grant it to be a sign of unusual mental power, I must inquire whether, on being requested to give a precise description of what she saw, she would be able to cast aside her arbitrary combinations and recover the objects she really perceived so as to make them recognisable by another person who passed the same way. Otherwise her glorifying imagination is not an addition to the fundamental power of strong, discerning perception, but a cheaper substitute. And, in fact, I find on listening to Callista's conversation, that she has a very lax conception even of common objects, and an equally lax memory of events. It seems of no consequence to her whether she shall say that a stone is overgrown with moss or with lichen, that a building is of sandstone or of granite, that Meliboeus once forgot to put on his cravat or that he always appears without it; that everybody says so, or that one stock-broker's wife said so yesterday; that Philemon praised Euphemia up to the skies, or that he denied knowing any particular evil of her. She is one of those respectable witnesses who would testify to the exact moment of an apparition, because any desirable moment will be as exact as another to her remembrance; or who would be the most worthy to witness the action of spirits on slates and tables because the action of limbs would not probably arrest her attention. She would describe the surprising phenomena exhibited by the powerful Medium with the same freedom that she vaunted in relation to the old heap of stones. Her supposed imaginativeness is simply a very usual lack of discriminating perception, accompanied with a less usual activity of misrepresentation, which, if it had been a little more intense, or had been stimulated by circumstance, might have made her a profuse writer unchecked by the troublesome need of veracity.
These characteristics are the very opposite of such as yield a fine imagination, which is always based on a keen vision, a keen consciousness of what is, and carries the store of definite knowledge as material for the construction of its inward visions. Witness Dante, who is at once the most precise and homely in his reproduction of actual objects, and the most soaringly at large in his imaginative combinations. On a much lower level we distinguish the hyperbole and rapid development in descriptions of persons and events which are lit up by humorous intention in the speaker - we distinguish this charming play of intelligence which resembles musical improvisation on a given motive, where the farthest sweep of curve is looped into relevancy by an instinctive method, from the florid inaccuracy or helpless exaggeration which is really something commoner than the correct simplicity often depreciated as prosaic.
Even if high imagination were to be identified with illusion, there would be the same sort of difference between the imperial wealth of illusion which is informed by industrious submissive observation and the trumpery stage-property illusion which depends on the ill-defined impressions gathered by capricious inclination, as there is between a good and a bad picture of the Last Judgment. In both these the subject is a combination never actually witnessed, and in the good picture the general combination may be of surpassing boldness; but on examination it is seen that the separate elements have been closely studied from real objects. And even where we find the charm of ideal elevation with wrong drawing and fantastic colour, the charm is dependent on the selective sensibility of the painter to certain real delicacies of form which confer the expression he longed to render; for apart from this basis of an effect perceived in common, there could be no conveyance of aesthetic meaning by the painter to the beholder. In this sense it is as true to say of Fra Angelico's Coronation of the Virgin, that it has a strain of reality, as to say so of a portrait by Rembrandt, which also has its strain of ideal elevation due to Rembrandt's virile selective sensibility. To correct such self-flatterers as Callista, it is worth repeating that powerful imagination is not false outward vision, but intense inward representation, and a creative energy constantly fed by susceptibility to the veriest minutiae of experience, which it reproduces and constructs in fresh and fresh wholes; not the habitual confusion of provable fact with the fictions of fancy and transient inclination, but a breadth of ideal association which informs every material object, every incidental fact with far-reaching memories and stored residues of passion, bringing into new light the less obvious relations of human existence. The illusion to which it is liable is not that of habitually taking duck-ponds for lilied pools, but of being more or less transiently and in varying degrees so absorbed in ideal vision as to lose the consciousness of surrounding objects or occurrences; and when that rapt condition is past, the sane genius discriminates clearly between what has been given in this parenthetic state of excitement, and what he has known, and may count on, in the ordinary world of experience. Dante seems to have expressed these conditions perfectly in that passage of the Purgatorio where, after a triple vision which has made him forget his surroundings, he says -
He distinguishes the ideal truth of his entranced vision from the series of external facts to which his consciousness had returned. Isaiah gives us the date of his vision in the Temple - "the year that King Uzziah died" - and if afterwards the mighty-winged seraphim were present with him as he trod the street, he doubtless knew them for images of memory, and did not cry "Look!" to the passers-by.
Certainly the seer, whether prophet, philosopher, scientific discoverer, or poet, may happen to be rather mad: his powers may have been used up, like Don Quixote's, in their visionary or theoretic constructions, so that the reports of common-sense fail to affect him, or the continuous strain of excitement may have robbed his mind of its elasticity. It is hard for our frail mortality to carry the burthen of greatness with steady gait and full alacrity of perception. But he is the strongest seer who can support the stress of creative energy and yet keep that sanity of expectation which consists in distinguishing, as Dante does, between the cose che son vere outside the individual mind, and the non falsi errori which are the revelations of true imaginative power.