The Rambler/23
Numb. 23. Tuesday, June 5, 1750.
That every man should regulate his actions by his own conscience, without any regard to the opinions of the rest of the world, is one of the first precepts of moral prudence; justified not only by the suffrage of reason, which declares that none of the gifts of heaven are to lie useless, but by the voice likewise of experience, which will soon inform us that, if we make the praise or blame of others the rule of our conduct, we shall be distracted by a boundless variety of irreconcileable judgments, be held in perpetual suspense between contrary impulses, and consult for ever without determination.
I know not whether, for the same reason, it is not necessary for an author to place some confidence in his own skill, and to satisfy himself in the knowledge that he has not deviated from the established laws of composition, without submitting his works to frequent examinations before he gives them to the publick, or endeavouring to secure success by a solicitous conformity to advice and criticism.
It is, indeed, quickly discoverable, that consultation and compliance can conduce little to the perfection of any literary performance; for whoever is so doubtful of his own abilities as to encourage the remarks of others, will find himself every day embarrassed with new difficulties, and will harass his mind, in vain, with the hopeless labour of uniting heterogeneous ideas, digesting independent hints, and collecting into one point the several rays of borrowed light, emitted often with contrary directions.
Of all authors, those who retail their labours in periodical sheets would be most unhappy, if they were much to regard the censures or the admonitions of their readers; for, as their works are not sent into the world at once, but by small parts in gradual succession, it is always imagined, by those who think themselves qualified to give instructions, that they may yet redeem their former failings by hearkening to better judges, and supply the deficiencies of their plan, by the help of the criticisms which are so liberally afforded.
I have had occasion to observe, sometimes with vexation, and sometimes with merriment, the different temper with which the same man reads a printed and manuscript performance. When a book is once in the hands of the publick, it is considered as permanent and unalterable; and the reader, if he be free from personal prejudices, takes it up with no other intention than of pleasing or instructing himself; he accommodates his mind to the author's design; and, having no interest in refusing the amusement that is offered him, never interrupts his own tranquillity by studied cavils, or destroys his satisfaction in that which is already well, by an anxious inquiry how it might be better; but is often contented without pleasure, and pleased without perfection.
But if the same man be called to consider the merit of a production yet unpublished, he brings an imagination heated with objections to passages, which he has yet never heard; he invokes all the powers of criticism, and stores his memory with Taste and Grace, Purity and Delicacy, Manners and Unities, sounds which, having been once uttered by those that understood them, have been since re-echoed without meaning, and kept up to the disturbance of the world, by a constant repercussion from one coxcomb to another. He considers himself as obliged to shew, by some proof of his abilities, that he is not consulted to no purpose, and therefore watches every opening for objection, and looks round for every opportunity to propose some specious alteration. Such opportunities a very small degree of sagacity will enable him to find; for in every work of imagination, the disposition of parts, the insertion of incidents, and use of decorations, may be varied a thousand ways with equal propríety; and as in things nearly equal, that will always seem best to every man which he himself produces, the critick, whose business is only to propose, without the care of execution, can never want the satisfaction of believing that he has suggested very important improvements, nor the power of enforcing his advice by arguments, which as they appear convincing to himself, either his kindness or his vanity will press obstinately and importunately, without suspicion that he may possibly judge too hastily in favour of his own advice, or enquiry whether the advantage of the new scheme be proportionate to the labour.
It is observed, by the younger Pliny, that an orator ought not so much to select the strongest arguments which his cause admits, as to employ all which his imagination can afford; for, in pleading, those reasons are of most value, which will most affect the judges; and the judges, says he, will be always most touched with that which they had before conceived. Every man who is called to give his opinion of a performance, decides upon the same principle; he first suffers himself to form expectations, and then is angry at his disappointment. He lets his imagination rove at large, and wonders that another, equally unconfined in the boundless ocean of possibility, takes a different course.
But, though the rule of Pliny be judiciously laid down, it is not applicable to the writer's cause, because there always lies an appeal from domestick criticism to a higher judicature, and the publick, which is never corrupted, nor often deceived, is to pass the last sentence upon literary claims.
Of the great force of preconceived opinions I had many proofs, when I first entered upon this weekly labour. My readers having, from the performances of my predecessors, established an idea of unconnected essays, to which they believed all future authors under a necessity of conforming, were impatient of the least deviation from their system, and numerous remonstrances were accordingly made by each, as he found his favourite subject omitted or delayed. Some were angry that the Rambler did not, like the Spectator, introduce himself to the acquaintance of the publick, by an account of his own birth and studies, an enumeration of his adventures, and a description of his physiognomy. Others soon began to remark that he was a solemn, serious, dictatorial writer, without sprightliness or gaiety, and called out with vehemence for mirth and humour. Another admonished him to have a special eye upon the various clubs of this great city, and informed him that much of the Spectator's vivacity was laid out upon such assemblies. He has been censured for not imitating the politeness of his predecessors, having hitherto neglected to take the ladies under his protection, and give them rules for the just opposition of colours, and the proper dimensions of ruffles and pinners. He has been required by one to fix a particular censure upon those matrons who play at cards with spectacles. And another is very much offended whenever he meets with a speculation, in which naked precepts are comprised, without the illustration of examples and characters.
I make not the least question that all these monitors intend the promotion of my design, and the instruction of my readers; but they do not know, or do not reflect, that an author has a rule of choice peculiar to himself; and selects those subjects which he is best qualified to treat, by the course of his studies, or the accidents of his life; that some topicks of amusement have been already treated with too much success to invite a competition; and that he who endeavours to gain many readers must try various arts of invitation, essay every avenue of pleasure, and make frequent changes in his methods of approach.
I cannot but consider myself, amidst this tumult of criticism, as a ship in a poetical tempest, impelled at the same time by opposite winds, and dashed by the waves from every quarter, but held upright by the contrariety of the assailants, and secured, in some measure, by multiplicity of distress. Had the opinion of my censurers been unanimous, it might perhaps have overset my resolution; but since I find them at variance with each other, I can, without scruple, neglect them, and endeavour to gain the favour of the publick by following the direction of my own reason, and indulging the sallies of my own imagination.