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      • Adeste Fideles (O Come all ye faithful)
      • Adoremus (Let us adore)
      • Adoro Te Devote (I adore you devoutly)
      • Agnus Dei (Lamb of God)
      • Angele Dei (Angel of God)
      • Angelicum Trisagium (Angelic Trisagion)
      • Angelus (Angelus)
      • Anima Christi (Soul of Christ)
      • Ave Maria (Hail Mary)
      • Ave Regina Caelorum (Hail Queen of Heaven)
      • Ave verum corpus (Hail true body)
      • Benedictio Ante Mensam (Blessing Before Meals)
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      • Benedictus Deus (Divine Praises)
      • Confiteor (I confess)
      • Credo (Apostle's Creed)
      • Credo Niceanum (Nicene Creed - I believe in one God)
      • Deus meus ex toto corde meo (Act of Contrition)
      • Gloria Patri (Glory be)
      • Gloria in excelsis Deo (Glory to God in the highest)
      • Litanies Laurentanae (Litany of Loreto)
      • Litaniae Sanctorum (Litany of all the Saints)
      • Magnificat (My soul magnifies the Lord)
      • Memorare (Remember)
      • O Maria (O Mary)
      • O Salutaris Hostia (O Saving Victim)
      • O Sanctissima (O most holy one)
      • Oratio Dominica (Our Father)
      • Oratio Sancti Bonaventurae (Prayer of St. Bonaventure)
      • Oratio Sancti Thomae Aquinatis (Prayer of St. Thomas Aquinas)
      • Oratio ad Joseph (Prayer to St. Joseph)
      • Pater Noster (Our Father)
      • Salve Regina (Hail, Holy Queen)
      • Sancte Michael Archangele (St. Michael the Archangel)
      • Signum Crucis (The sign of the Cross)
      • Sub Tuum Praesidum (Under Your Protection)
      • Tantum Ergo (Down in Adoration Falling)
      • Veni Sancte Spiritus (Come O Holy Spirit)
    • Liturgical Calendar
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    • Marian Prayers >
      • The Angelus
      • Ave Maris Stella
      • Hail Holy Queen
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      • Magnificat
      • Memorare
      • Prayer to the Immaculate Conception
      • Prayer to Our Lady of Evangelization
      • Regina Caeli
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    • Saint Prayers >
      • St. Anthony
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    • Stations of the Cross
    • Tantum Ergo
  • Litanies
    • Litany of Humility
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    • Litany of St. Philomena
    • Litany of the Most Precious Blood of Jesus
    • Litany to the Infant Jesus
    • Litany to the Sacred Head of Jesus
  • Novenas
    • Novena in Honor of St. Blase
    • Novena of Confidence to the Sacred Heart
    • Novena to the Sacred Heart of Jesus
    • Novena to St. Anthony Mary Claret
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    • Novena to St. Joseph
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  • Early Church Fathers
    • Vol. 1 - Preface and Introduction >
      • The First Epistle of Clement to the Corinthians
      • The Epistle of Mathetes to Diognetus
      • The Epistle of Polycarp to the Philippians
      • The Epistle Concerning the Martyrdom of Polycarp
      • The Epistles of Ignatius - Introduction >
        • The Epistle of Ignatius to the Ephesians
        • The Epistle of Ignatius to the Magnesians
        • The Epistle of Ignatius to the Trallians
        • The Epistle of Ignatius to the Romans
        • The Epistle of Ignatius to the Philadelphians
        • The Epistle of Ignatius to the Smyrnæans
        • The Epistle of Ignatius to Polycarp
      • The Ignatian Epistles (Syriac Version) >
        • The Epistle of Ignatius to Polycarp (Syriac Version)
        • The Second Epistle Of Ignatius to the Ephesians (Syriac Version)
        • The Third Epistle of the Same St. Igantius (Syriac Version)
      • Introductory to the Spurious Epistles of Ignatius >
        • The Epistle of Ignatius to the Tarsians (Spurious)
        • The Epistle of Ignatius to the Antiochians (Spurious)
        • The Epistle of Ignatius to Hero, a Deacon of Antioch (Spurious)
        • The Epistle of Ignatius to the Philippians (Spurious)
        • The Epistle of Maria the Proselyte to Ignatius (Spurious)
        • The Epistle of Ignatius to Mary at Nepalis, Near Zarbus (Spurious)
        • The Epistle of Ignatius to St. John the Apostle (Spurious)
        • A Second Epistle of Ignatius to St. John (Spurious)
        • The Epistle of Ignatius to the Virgin Mary (Spurious)
      • Introductory Note to the Martyrdom of Ignatius >
        • The Martyrdom of Ignatius
      • The Epistle of Barnabas
      • The Fragments of Papias
      • Introduction to the Writings of Justin Martyr >
        • The First Apology of Justin Martyr >
          • Epistle of Adrian in behalf of the Christians
          • Epistle of Antoninus to the common assembly of Asia
          • Epistle of Marcus Aurelius to the senate, in which he testifies that the Christians were the cause of his victory
        • The Second Apology of Justin for the Christians Addressed to the Roman Senate
        • Dialogue of Justin, Philosopher and Martyr, with Trypho, a Jew
        • The Discourse to the Greeks - Justin Martyr
        • Justin's Hortatory Address to the Greeks
        • Justin on the Sole Government of God
        • Fragments of the Lost Work of Justin on the Resurrection
        • Other Fragments from the Lost Writings of Justin
        • The Martyrdom of the Holy Martyrs Justin, Chariton, Charites, Pæon, and Liberianus, who Suffered at Rome
      • Introductory Note to Irenæus Against Heresies >
        • Against Heresies: Book 1 - Irenaeus
        • Against Heresies: Book 2 - Irenaeus
        • Against Heresies: Book 3 - Irenaeus
        • Against Heresies: Book 4 - Irenaeus
        • Against Heresies: Book 5 - Irenaeus
        • Fragments from the Lost Writings of Irenaeus
    • Vol. 2 - Fathers of the Second Century >
      • The Pastor of Hermas - Introduction >
        • The Pastor of Hermas: Book 1
        • The Pastor of Hermas: Book 2
        • The Pastor of Hermas: Book 3
      • Tatian the Assyrian's Address to the Greeks >
        • Fragments - Tatian the Assyrian
      • Theophilus of Antioch - Introduction >
        • Theophilus of Antioch to Autolycus: Book 1
        • Theophilus of Antioch to Autolycus: Book 2
        • Theophilus of Antioch to Autolycus: Book 3
      • Athenagoras >
        • A Plea For the Christians By Athenagoras the Athenian: Philosopher and Christian
        • The Treatise of Athenagoras the Athenian, Philosopher and Christian, on the Resurrection of the Dead
      • Clement of Alexandria - Introductory Note >
        • Exhortation to the Heathen
        • The Instructor (Paedagogus) - Book 1
        • The Instructor (Paedagogus) - Book 2
        • The Instructor (Paedagogus) - Book 3
        • Elucidations - Clement of Alexandria
        • The Stromata, or Miscellanies - Book 1
        • Elucidations - Purpose of the Stromata
        • The Stromata, or Miscellanies - Book 2
        • Elucidations - The Stromata, Book 2
        • The Stromata, or Miscellanies - Book 3
        • The Stromata, or Miscellanies - Book 4
        • Elucidations - The Stromata, Book 4
        • The Stromata, or Miscellanies - Book 5
        • Elucidations - The Stromata, Book 5
        • The Stromata, or Miscellanies - Book 6
        • Elucidations - The Stromata, Book 6
        • The Stromata, or Miscellanies - Book 7
        • Elucidations - The Stromata, Book 7
        • The Stromata, or Miscellanies - Book 8
        • Elucidations - The Stromata, Book 8
        • Fragments of Clemens Alexandrinus
        • Clemens Alexandrinus on the Salvation of the Rich Man
        • Elucidations - Clemens Alexandrinus on the Salvation of the Rich Man
    • Vol. 3 - Tertullian >
      • Section 1 - Apologetic - Tertullian >
        • The Apology
        • On Idolatry
        • The Shows, or De Spectaculis
        • The Chaplet, or De Corona
        • To Scapula
        • Ad Nationes - Book 1
        • Ad Nationes - Book 2
        • A Fragment Concerning the Execrable Gods of the Heathen
        • An Answer to the Jews
        • The Soul's Testimony
        • A Treatise on the Soul
      • Section 2 - Anti-Marcion - Tertullian >
        • The Prescription Against Heretics
        • The Five Books Against Marcion - Book 1
        • The Five Books Against Marcion - Book 2
        • The Five Books Against Marcion - Book 3
        • The Five Books Against Marcion - Book 4
        • The Five Books Against Marcion - Book 5
        • Against Hermogenes - Containing an Argument Against His Opinion that Matter is Eternal
        • Against the Valentinians
        • On the Flesh of Christ
        • On the Resurrection of the Flesh
        • Against Praxeas
        • Scorpiace
        • Against all Heresies
      • Section 3 - Ethical - Tertullian >
        • On Repentance
        • On Baptism
        • On Prayer
        • Ad Martyras
        • Introductory Notice to the Martyrdom of Perpetua and Felicitas
        • The Passion of the Holy Martyrs Perpetua and Felicitas
        • Of Patience
    • Vol. 4 - Tertullian, Minucius Felix, Commodianus, Origen >
      • Tertullian >
        • On the Pallium
        • On the Apparel of Women
        • On the Veiling of Virgins
        • To His Wife
        • On Exhortation to Chastity
        • On Monogamy
        • On Modesty
        • On Fasting (In Opposition to the Psychics)
        • De Fuga in Persecutione
        • Appendix
      • Minucius Felix >
        • The Octavius of Minucius Felix
  • Books
    • John Henry Cardinal Newman >
      • An Essay on the Development of Christian Doctrine by John Henry Cardinal Newman >
        • An Essay on the Development of Christian Doctrine - Part 1: Doctrinal Developments Viewed in Themselves >
          • An Essay on the Development of Christian Doctrine - Part 1, Chapter 1: On the Development of Ideas
          • An Essay on the Development of Christian Doctrine - Part 1, Chapter 2: On the Antecedent Argument in Behalf of Developments in Christian Doctrine
          • An Essay on the Development of Christian Doctrine - Part 1, Chapter 3: On the Historical Argument in Behalf of the Existing Developments
          • An Essay on the Development of Christian Doctrine - Part 1, Chapter 4: Instances in Illustration
        • An Essay on the Development of Christian Doctrine - Part 2: Doctrinal Developments Viewed Relatively to Doctrinal Corruptions >
          • An Essay on the Development of Christian Doctrine - Part 2, Chapter 5: Genuine Developments Contrasted with Corruptions
          • An Essay on the Development of Christian Doctrine - Part 2, Chapter 6: Application of the Seven Notes to the Existing Developments of Christian Doctrine
          • An Essay on the Development of Christian Doctrine - Part 2, Chapter 7: Application of the Second Note of a True Development
          • An Essay on the Development of Christian Doctrine - Part 2, Chapter 8: Application of the Third Note of a True Development
          • An Essay on the Development of Christian Doctrine - Part 2, Chapter 9: Application of the Fourth Note of a True Development
          • An Essay on the Development of Christian Doctrine - Part 2, Chapter 10: Application of the Fifth Note of a True Development
          • An Essay on the Development of Christian Doctrine - Part 2, Chapter 11: Application of the Sixth Note of a True Development
          • An Essay on the Development of Christian Doctrine - Part 2, Chapter 12: Application of the Seventh Note of a True Development
      • Apologia Pro Vita Sua By John Henry Cardinal Newman >
        • Apologia Pro Vita Sua, Part 1: Mr. Kingsley's Method of Disputation
        • Apologia Pro Vita Sua, Part 2: True Mode of Meeting Mr. Kingsley
        • Apologia Pro Vita Sua, Part 3: History of My Religious Opinions
        • Apologia Pro Vita Sua, Part 4: History of My Religious Opinions--1833 - 1839
        • Apologia Pro Vita Sua, Part 5: History of My Religious Opinions--1839 - 1841
        • Apologia Pro Vita Sua, Part 6: History of My Religious Opinions--1841 - 1845
        • Apologia Pro Vita Sua, Part 7: General Answer to Mr. Kingsley
        • Apologia Pro Vita Sua, Appendix: Answer in Detail to Mr. Kingsley's Accusations
      • The Idea of a University Defined and Illustrated by John Henry Cardinal Newman >
        • The Idea of a University, Discourse 1: Introductory
        • The Idea of a University, Discourse 2: Theology A Branch Of Knowledge
        • The Idea of a University, Discourse 3: Bearing Of Theology On Other Branches Of Knowledge
        • The Idea of a University, Discourse 4: Bearing Of Other Branches Of Knowledge On Theology
        • The Idea of a University, Discourse 5: Knowledge Its Own End
        • The Idea of a University, Discourse 6: Knowledge Viewed In Relation To Learning
        • The Idea of a University, Discourse 7: Knowledge Viewed In Relation To Professional Skill
        • The Idea of a University, Discourse 8: Knowledge Viewed In Relation To Religion
        • The Idea of a University, Discourse 9: Duties Of The Church Towards Knowledge
        • University Subjects, Discussed in Occasional Lectures and Essays >
          • Lecture 1 - Christianity And Letters. A Lecture in the School of Philosophy and Letters
          • Lecture 2 - Literature. A Lecture in the School of Philosophy and Letters
          • Lecture 3 - English Catholic Literature
          • Lecture 4 - Elementary Studies
          • Lecture 5 - A Form Of Infidelity Of The Day
          • Lecture 6 - University Preaching
          • Lecture 7 - Christianity and Physical Science. A Lecture in the School of Medicine
          • Lecture 8 - Christianity And Scientific Investigation. A Lecture Written for the School of Science
          • Lecture 9 - Discipline Of Mind. An Address To The Evening Classes
          • Lecture 10 - Christianity And Medical Science. An Address to the Students Of Medicine
      • Loss and Gain: The Story of a Convert by John Henry Cardinal Newman >
        • Loss and Gain, Part 1, Chapter 1 >
          • Loss and Gain, Part 1, Chapter 2
          • Loss and Gain, Part 1, Chapter 3
          • Loss and Gain, Part 1, Chapter 4
          • Loss and Gain, Part 1, Chapter 5
          • Loss and Gain, Part 1, Chapter 6
          • Loss and Gain, Part 1, Chapter 7
          • Loss and Gain, Part 1, Chapter 8
          • Loss and Gain, Part 1, Chapter 9
          • Loss and Gain, Part 1, Chapter 10
          • Loss and Gain, Part 1, Chapter 11
          • Loss and Gain, Part 1, Chapter 12
          • Loss and Gain, Part 1, Chapter 13
          • Loss and Gain, Part 1, Chapter 14
          • Loss and Gain, Part 1, Chapter 15
          • Loss and Gain, Part 1, Chapter 16
          • Loss and Gain, Part 1, Chapter 17
          • Loss and Gain, Part 1, Chapter 18
        • Loss and Gain, Part 2, Chapter 1 >
          • Loss and Gain, Part 2, Chapter 2
          • Loss and Gain, Part 2, Chapter 3
          • Loss and Gain, Part 2, Chapter 4
          • Loss and Gain, Part 2, Chapter 5
          • Loss and Gain, Part 2, Chapter 6
          • Loss and Gain, Part 2, Chapter 7
          • Loss and Gain, Part 2, Chapter 8
          • Loss and Gain, Part 2, Chapter 9
          • Loss and Gain, Part 2, Chapter 10
          • Loss and Gain, Part 2, Chapter 11
          • Loss and Gain, Part 2, Chapter 12
          • Loss and Gain, Part 2, Chapter 13
          • Loss and Gain, Part 2, Chapter 14
          • Loss and Gain, Part 2, Chapter 15
          • Loss and Gain, Part 2, Chapter 16
          • Loss and Gain, Part 2, Chapter 17
          • Loss and Gain, Part 2, Chapter 18
          • Loss and Gain, Part 2, Chapter 19
          • Loss and Gain, Part 2, Chapter 20
          • Loss and Gain, Part 2, Chapter 21
        • Loss and Gain, Part 3, Chapter 1 >
          • Loss and Gain, Part 3, Chapter 2
          • Loss and Gain, Part 3, Chapter 3
          • Loss and Gain, Part 3, Chapter 4
          • Loss and Gain, Part 3, Chapter 5
          • Loss and Gain, Part 3, Chapter 6
          • Loss and Gain, Part 3, Chapter 7
          • Loss and Gain, Part 3, Chapter 8
          • Loss and Gain, Part 3, Chapter 9
          • Loss and Gain, Part 3, Chapter 10
          • Loss and Gain, Part 3, Chapter 11
    • Saint Augustine of Hippo >
      • The Confessions of Saint Augustine by Saint Augustine, Bishop of Hippo >
        • Book 1 - Confessions by St. Augustine
        • Book 2 - Confessions by St. Augustine
        • Book 3 - Confessions by St. Augustine
        • Book 4 - Confessions by St. Augustine
        • Book 5 - Confessions by St. Augustine
        • Book 6 - Confessions by St. Augustine
        • Book 7 - Confessions by St. Augustine
        • Book 8 - Confessions by St. Augustine
        • Book 9 - Confessions by St. Augustine
        • Book 10 - Confessions by St. Augustine
        • Book 11 - Confessions by St. Augustine
        • Book 12 - Confessions by St. Augustine
        • Book 13 - Confessions by St. Augustine
    • G K Chesterton >
      • Heretics by G.K. Chesterton >
        • Heretics, Chapter 1: Introductory Remarks on the Importance of Orthodoxy
        • Heretics, Chapter 2: On the Negative Spirit
        • Heretics, Chapter 3: On Mr. Rudyard Kipling and Making the World Small
        • Heretics, Chapter 4: Mr. Bernard Shaw
        • Heretics, Chapter 5: Mr. H.G. Wells and the Giants
        • Heretics, Chapter 6: Christmas and the Aesthetes
        • Heretics, Chapter 7: Omar and the Sacred Vine
        • Heretics, Chapter 8: The Mildness of the Yellow Press
        • Heretics, Chapter 9: The Moods of Mr. George Moore
        • Heretics, Chapter 10: On Sandals and Simplicity
        • Heretics, Chapter 11: Science and the Savages
        • Heretics, Chapter 12: Paganism and Mr. Lowes Dickinson
        • Heretics, Chapter 13: Celts and Celtophiles
        • Heretics, Chapter 14: On Certain Modern Writers and the Institution of the Family
        • Heretics, Chapter 15: On Smart Novelists and the Smart Set
        • Heretics, Chapter 16: On Mr. McCabe and a Divine Frivolity
        • Heretics, Chapter 17: On the Wit of Whistler
        • Heretics, Chapter 18: The Fallacy of the Young Nation
        • Heretics, Chapter 19: Slum Novelists and the Slums
        • Heretics, Chapter 20: Concluding Remarks on the Importance of Orthodoxy
      • Orthodoxy by G. K. Chesterton >
        • Orthodoxy, Chapter 1: Introduction in Defense of Everything Else
        • Orthodoxy, Chapter 2: The Maniac
        • Orthodoxy, Chapter 3: The Suicide of Thought
        • Orthodoxy, Chapter 4: The Ethics of Elfland
        • Orthodoxy, Chapter 5: The Flag of the World
        • Orthodoxy, Chapter 6: The Paradoxes of Christianity
        • Orthodoxy, Chapter 7: The Eternal Revolution
        • Orthodoxy, Chapter 8: The Romance of Orthodoxy
        • Orthodoxy, Chapter 9: Authority and the Adventurer
    • Saint Thomas Aquinas >
      • On Prayer and the Contemplative Life by St. Thomas Aquinas >
        • On Prayer, Question LXXXI: Of the Virtue of Religion
        • On Prayer, Question LXXXII: Of Devotion
        • On Prayer, Question LXXXIII: Of Prayer
        • On Prayer, Question LXXII: Of the Prayers of the Saints who are in Heaven
        • On Prayer, Question CLXXIX: Of the Division of Life into the Active and the Contemplative
        • On Prayer, Question CLXXX: Of the Contemplative Life
        • On Prayer, Question CLXXXI: Of the Active Life
        • On Prayer, Question CLXXXII: Of the Comparison between the Active and the Contemplative Life
        • On Prayer, Question CLXXXVI: On the Religious State
      • Summa Theologica Part 1 ("Prima Pars") by St. Thomas Aquinas >
        • Summa Theologica (Questions 1 - 26)
        • Summa Theologica: Treatise on the Most Holy Trinity (Questions 27 - 43)
        • Summa Theologica: Treatise on the Creation (Questions 44 - 49)
        • Summa Theologica: Treatise on the Angels (Questions 50 - 64)
        • Summa Theologica: Treatise on the Work of the Six Days (Questions 65 - 74)
        • Summa Theologica: Treatise on Man (Questions 75 - 102)
        • Summa Theologica: Treatise on the Conservation and Government of Creatures (Questions 103 - 119)
      • Summa Theologica Part 1-2 ("Prima Secundae") by St. Thomas Aquinas >
        • Summa Theologica Part 1-2 ("Prima Secundae"): Treatise on the Last End (Questions 1 - 5)
        • Summa Theologica Part 1-2 ("Prima Secundae"): Treatise on Human Acts: Acts Peculiar to Man (Questions 6 - 21)
        • Summa Theologica Part 1-2 ("Prima Secundae"): Treatise on the Passions (Questions 22 - 48)
        • Summa Theologica Part 1-2 ("Prima Secundae"): Treatise on Habits (Questions 49 - 54)
        • Summa Theologica Part 1-2 ("Prima Secundae"): Treatise on Habits in Particular (Questions 55 - 89): Good Habits, i.e., Virtues (Questions 55 - 70)
        • Summa Theologica Part 1-2 ("Prima Secundae"): Treatise on Habits in Particular (Questions 55 - 89): Evil Habits, i.e., Vices and Sin (Questions 71 - 89)
        • Summa Theologica Part 1-2 ("Prima Secundae"): Treatise on Law (Questions 90 - 108)
        • Summa Theologica Part 1-2 ("Prima Secundae"): Treatise on Grace (Questions 109 - 114)
      • Summa Theologica Part 2-2 ("Second Secundae") by St. Thomas Aquinas >
        • Summa Theologica Part 2-2 ("Second Secundae"): Treatise on the Theological Virtues (Questions 1 - 46)
        • Summa Theologica Part 2-2 ("Second Secundae"): Treatise on the Cardinal Virtues (Questions 47 - 122)
        • Summa Theologica Part 2-2 ("Second Secundae"): Treatise on Fortitude and Temperance (Questions 123 - 170)
        • Summa Theologica Part 2-2 ("Second Secundae"): Treatise on Gratuitous Graces (Questions 171 - 182)
        • Summa Theologica Part 2-2 ("Second Secundae"): Treatise on the States of Life (Questions 183 - 189)
      • Summa Theologica Third Part ("Tertia Pars") by St. Thomas Aquinas >
        • Summa Theologica Third Part ("Tertia Pars"): Treatise on the Incarnation (Questions 1 - 59)
        • Summa Theologica Third Part ("Tertia Pars"): Treatise on the Sacraments (Questions 60 - 90)
    • The Baltimore Catechism >
      • The Baltimore Catechism, Vol. 1
      • The Baltimore Catechism, Vol. 2
      • The Baltimore Catechism, Vol. 3
      • The Baltimore Catechism, Vol. 4
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Lecture 2
Literature. A Lecture in the School of Philosophy and Letters


Lecture II.
Literature. A Lecture in the School of Philosophy and Letters.


1.
Wishing to address you, Gentlemen, at the commencement of a new Session, I tried to find a subject for discussion, which might be at once suitable to the occasion, yet neither too large for your time, nor too minute or abstruse for your attention. I think I see one for my purpose in the very title of your Faculty. It is the Faculty of Philosophy and Letters. Now the question may arise as to what is meant by “Philosophy,” and what is meant by “Letters.” As to the other Faculties, the subject-matter which they profess is intelligible, as soon as named, and beyond all dispute. We know what Science is, what Medicine, what Law, and what Theology; but we have not so much ease in determining what is meant by Philosophy and Letters. Each department of that twofold province needs explanation: it will be sufficient, on an occasion like this, to investigate one of them. Accordingly I shall select for remark the latter of the two, and attempt to determine what we are to understand by Letters or Literature, in what Literature consists, and how it stands relatively to Science. We speak, for instance, of ancient and modern literature, the literature of the day, sacred literature, light literature; and our lectures in this place are devoted to classical literature and English literature. Are Letters, then, synonymous with books? This cannot be, or they would include in their range Philosophy, Law, and, in short, the teaching of all the other Faculties. Far from confusing these various studies, we view the works of Plato or Cicero sometimes as philosophy, sometimes as literature; on the other hand, no one would ever be tempted to speak of Euclid as literature, or of Matthiæ’s Greek Grammar. Is, then, literature synonymous with composition? with books written with an attention to style? is literature fine writing? again, is it studied and artificial writing?

There are excellent persons who seem to adopt this last account of Literature as their own idea of it. They depreciate it, as if it were the result of a mere art or trick of words. Professedly indeed, they are aiming at the Greek and Roman classics, but their criticisms have quite as great force against all literature as against any. I think I shall be best able to bring out what I have to say on the subject by examining the statements which they make in defence of their own view of it. They contend then, 1. that fine writing, as exemplified in the Classics, is mainly a matter of conceits, fancies, and prettinesses, decked out in choice words; 2. that this is the proof of it, that the classics will not bear translating;—(and this is why I have said that the real attack is upon literature altogether, not the classical only; for, to speak generally, all literature, modern as well as ancient, lies under this disadvantage. This, however, they will not allow; for they maintain,) 3. that Holy Scripture presents a remarkable contrast to secular writings on this very point, viz., in that Scripture does easily admit of translation, though it is the most sublime and beautiful of all writings.

2.
Now I will begin by stating these three positions in the words of a writer, who is cited by the estimable Catholics in question as a witness, or rather as an advocate, in their behalf, though he is far from being able in his own person to challenge the respect which is inspired by themselves.

“There are two sorts of eloquence,” says this writer, “the one indeed scarce deserves the name of it, which consists chiefly in laboured and polished periods, an over-curious and artificial arrangement of figures, tinselled over with a gaudy embellishment of words, which glitter, but convey little or no light to the understanding. This kind of writing is for the most part much affected and admired by the people of weak judgment and vicious taste; but it is a piece of affectation and formality the sacred writers are utter strangers to. It is a vain and boyish eloquence; and, as it has always been esteemed below the great geniuses of all ages, so much more so with respect to those writers who were actuated by the spirit of Infinite Wisdom, and therefore wrote with that force and majesty with which never man writ. The other sort of eloquence is quite the reverse to this, and which may be said to be the true characteristic of the Holy Scriptures; where the excellence does not arise from a laboured and far-fetched elocution, but from a surprising mixture of simplicity and majesty, which is a double character, so difficult to be united that it is seldom to be met with in compositions merely human. We see nothing in Holy Writ of affectation and superfluous ornament.… Now, it is observable that the most excellent profane authors, whether Greek or Latin, lose most of their graces whenever we find them literally translated. Homer’s famed representation of Jupiter—his cried-up description of a tempest, his relation of Neptune’s shaking the earth and opening it to its centre, his description of Pallas’s horses, with numbers of other long-since admired passages, flag, and almost vanish away, in the vulgar Latin translation.

“Let any one but take the pains to read the common Latin interpretations of Virgil, Theocritus, or even of Pindar, and one may venture to affirm he will be able to trace out but few remains of the graces which charmed him so much in the original. The natural conclusion from hence is, that in the classical authors, the expression, the sweetness of the numbers, occasioned by a musical placing of words, constitute a great part of their beauties; whereas, in the sacred writings, they consist more in the greatness of the things themselves than in the words and expressions. The ideas and conceptions are so great and lofty in their own nature that they necessarily appear magnificent in the most artless dress. Look but into the Bible, and we see them shine through the most simple and literal translations. That glorious description which Moses gives of the creation of the heavens and the earth, which Longinus … was so greatly taken with, has not lost the least whit of its intrinsic worth, and though it has undergone so many translations, yet triumphs over all, and breaks forth with as much force and vehemence as in the original.… In the history of Joseph, where Joseph makes himself known, and weeps aloud upon the neck of his dear brother Benjamin, that all the house of Pharaoh heard him, at that instant none of his brethren are introduced as uttering aught, either to express their present joy or palliate their former injuries to him. On all sides there immediately ensues a deep and solemn silence; a silence infinitely more eloquent and expressive than anything else that could have been substituted in its place. Had Thucydides, Herodotus, Livy, or any of the celebrated classical historians, been employed in writing this history, when they came to this point they would doubtless have exhausted all their fund of eloquence in furnishing Joseph’s brethren with laboured and studied harangues, which, however fine they might have been in themselves, would nevertheless have been unnatural, and altogether improper on the occasion.”(34)

This is eloquently written, but it contains, I consider, a mixture of truth and falsehood, which it will be my business to discriminate from each other. Far be it from me to deny the unapproachable grandeur and simplicity of Holy Scripture; but I shall maintain that the classics are, as human compositions, simple and majestic and natural too. I grant that Scripture is concerned with things, but I will not grant that classical literature is simply concerned with words. I grant that human literature is often elaborate, but I will maintain that elaborate composition is not unknown to the writers of Scripture. I grant that human literature cannot easily be translated out of the particular language to which it belongs; but it is not at all the rule that Scripture can easily be translated either;—and now I address myself to my task:--

3.
Here, then, in the first place, I observe, Gentlemen, that Literature, from the derivation of the word, implies writing, not speaking; this, however, arises from the circumstance of the copiousness, variety, and public circulation of the matters of which it consists. What is spoken cannot outrun the range of the speaker’s voice, and perishes in the uttering. When words are in demand to express a long course of thought, when they have to be conveyed to the ends of the earth, or perpetuated for the benefit of posterity, they must be written down, that is, reduced to the shape of literature; still, properly speaking, the terms, by which we denote this characteristic gift of man, belong to its exhibition by means of the voice, not of handwriting. It addresses itself, in its primary idea, to the ear, not to the eye. We call it the power of speech, we call it language, that is, the use of the tongue; and, even when we write, we still keep in mind what was its original instrument, for we use freely such terms in our books as “saying,” “speaking,” “telling,” “talking,” “calling;” we use the terms “phraseology” and “diction;” as if we were still addressing ourselves to the ear.

Now I insist on this, because it shows that speech, and therefore literature, which is its permanent record, is essentially a personal work. It is not some production or result, attained by the partnership of several persons, or by machinery, or by any natural process, but in its very idea it proceeds, and must proceed, from some one given individual. Two persons cannot be the authors of the sounds which strike our ear; and, as they cannot be speaking one and the same speech, neither can they be writing one and the same lecture or discourse,—which must certainly belong to some one person or other, and is the expression of that one person’s ideas and feelings,—ideas and feelings personal to himself, though others may have parallel and similar ones,—proper to himself, in the same sense as his voice, his air, his countenance, his carriage, and his action, are personal. In other words, Literature expresses, not objective truth, as it is called, but subjective; not things, but thoughts.

Now this doctrine will become clearer by considering another use of words, which does relate to objective truth, or to things; which relates to matters, not personal, not subjective to the individual, but which, even were there no individual man in the whole world to know them or to talk about them, would exist still. Such objects become the matter of Science, and words indeed are used to express them, but such words are rather symbols than language, and however many we use, and however we may perpetuate them by writing, we never could make any kind of literature out of them, or call them by that name. Such, for instance, would be Euclid’s Elements; they relate to truths universal and eternal; they are not mere thoughts, but things: they exist in themselves, not by virtue of our understanding them, not in dependence upon our will, but in what is called the _nature_ of things, or at least on conditions external to us. The words, then, in which they are set forth are not language, speech, literature, but rather, as I have said, symbols. And, as a proof of it, you will recollect that it is possible, nay usual, to set forth the propositions of Euclid in algebraical notation, which, as all would admit, has nothing to do with literature. What is true of mathematics is true also of every study, so far forth as it is scientific; it makes use of words as the mere vehicle of things, and is thereby withdrawn from the province of literature. Thus metaphysics, ethics, law, political economy, chemistry, theology, cease to be literature in the same degree as they are capable of a severe scientific treatment. And hence it is that Aristotle’s works on the one hand, though at first sight literature, approach in character, at least a great number of them, to mere science; for even though the things which he treats of and exhibits may not always be real and true, yet he treats them as if they were, not as if they were the thoughts of his own mind; that is, he treats them scientifically. On the other hand, Law or Natural History has before now been treated by an author with so much of colouring derived from his own mind as to become a sort of literature; this is especially seen in the instance of Theology, when it takes the shape of Pulpit Eloquence. It is seen too in historical composition, which becomes a mere specimen of chronology, or a chronicle, when divested of the philosophy, the skill, or the party and personal feelings of the particular writer. Science, then, has to do with things, literature with thoughts; science is universal, literature is personal; science uses words merely as symbols, but literature uses language in its full compass, as including phraseology, idiom, style, composition, rhythm, eloquence, and whatever other properties are included in it.

Let us then put aside the scientific use of words, when we are to speak of language and literature. Literature is the personal use or exercise of language. That this is so is further proved from the fact that one author uses it so differently from another. Language itself in its very origination would seem to be traceable to individuals. Their peculiarities have given it its character. We are often able in fact to trace particular phrases or idioms to individuals; we know the history of their rise. Slang surely, as it is called, comes of, and breathes of the personal. The connection between the force of words in particular languages and the habits and sentiments of the nations speaking them has often been pointed out. And, while the many use language as they find it, the man of genius uses it indeed, but subjects it withal to his own purposes, and moulds it according to his own peculiarities. The throng and succession of ideas, thoughts, feelings, imaginations, aspirations, which pass within him, the abstractions, the juxtapositions, the comparisons, the discriminations, the conceptions, which are so original in him, his views of external things, his judgments upon life, manners, and history, the exercises of his wit, of his humour, of his depth, of his sagacity, all these innumerable and incessant creations, the very pulsation and throbbing of his intellect, does he image forth, to all does he give utterance, in a corresponding language, which is as multiform as this inward mental action itself and analogous to it, the faithful expression of his intense personality, attending on his own inward world of thought as its very shadow: so that we might as well say that one man’s shadow is another’s as that the style of a really gifted mind can belong to any but himself. It follows him about _as_ a shadow. His thought and feeling are personal, and so his language is personal.

4.
Thought and speech are inseparable from each other. Matter and expression are parts of one: style is a thinking out into language. This is what I have been laying down, and this is literature; not _things_, not the verbal symbols of things; not on the other hand mere _words_; but thoughts expressed in language. Call to mind, Gentlemen, the meaning of the Greek word which expresses this special prerogative of man over the feeble intelligence of the inferior animals. It is called Logos: what does Logos mean? it stands both for _reason_ and for _speech_, and it is difficult to say which it means more properly. It means both at once: why? because really they cannot be divided,—because they are in a true sense one. When we can separate light and illumination, life and motion, the convex and the concave of a curve, then will it be possible for thought to tread speech under foot, and to hope to do without it—then will it be conceivable that the vigorous and fertile intellect should renounce its own double, its instrument of expression, and the channel of its speculations and emotions.

Critics should consider this view of the subject before they lay down such canons of taste as the writer whose pages I have quoted. Such men as he is consider fine writing to be an _addition from without_ to the matter treated of,—a sort of ornament superinduced, or a luxury indulged in, by those who have time and inclination for such vanities. They speak as if _one_ man could do the thought, and _another_ the style. We read in Persian travels of the way in which young gentlemen go to work in the East, when they would engage in correspondence with those who inspire them with hope or fear. They cannot write one sentence themselves; so they betake themselves to the professional letter-writer. They confide to him the object they have in view. They have a point to gain from a superior, a favour to ask, an evil to deprecate; they have to approach a man in power, or to make court to some beautiful lady. The professional man manufactures words for them, as they are wanted, as a stationer sells them paper, or a schoolmaster might cut their pens. Thought and word are, in their conception, two things, and thus there is a division of labour. The man of thought comes to the man of words; and the man of words, duly instructed in the thought, dips the pen of desire into the ink of devotedness, and proceeds to spread it over the page of desolation. Then the nightingale of affection is heard to warble to the rose of loveliness, while the breeze of anxiety plays around the brow of expectation. This is what the Easterns are said to consider fine writing; and it seems pretty much the idea of the school of critics to whom I have been referring.

We have an instance in literary history of this very proceeding nearer home, in a great University, in the latter years of the last century. I have referred to it before now in a public lecture elsewhere;(35) but it is too much in point here to be omitted. A learned Arabic scholar had to deliver a set of lectures before its doctors and professors on an historical subject in which his reading had lain. A linguist is conversant with science rather than with literature; but this gentleman felt that his lectures must not be without a style. Being of the opinion of the Orientals, with whose writings he was familiar, he determined to buy a style. He took the step of engaging a person, at a price, to turn the matter which he had got together into ornamental English. Observe, he did not wish for mere grammatical English, but for an elaborate, pretentious style. An artist was found in the person of a country curate, and the job was carried out. His lectures remain to this day, in their own place in the protracted series of annual Discourses to which they belong, distinguished amid a number of heavyish compositions by the rhetorical and ambitious diction for which he went into the market. This learned divine, indeed, and the author I have quoted, differ from each other in the estimate they respectively form of literary composition; but they agree together in this,—in considering such composition a trick and a trade; they put it on a par with the gold plate and the flowers and the music of a banquet, which do not make the viands better, but the entertainment more pleasurable; as if language were the hired servant, the mere mistress of the reason, and not the lawful wife in her own house.

But can they really think that Homer, or Pindar, or Shakespeare, or Dryden, or Walter Scott, were accustomed to aim at diction for its own sake, instead of being inspired with their subject, and pouring forth beautiful words because they had beautiful thoughts? this is surely too great a paradox to be borne. Rather, it is the fire within the author’s breast which overflows in the torrent of his burning, irresistible eloquence; it is the poetry of his inner soul, which relieves itself in the Ode or the Elegy; and his mental attitude and bearing, the beauty of his moral countenance, the force and keenness of his logic, are imaged in the tenderness, or energy, or richness of his language. Nay, according to the well-known line, “facit indignatio _versus_;” not the words alone, but even the rhythm, the metre, the verse, will be the contemporaneous offspring of the emotion or imagination which possesses him. “Poeta nascitur, non fit,” says the proverb; and this is in numerous instances true of his poems, as well as of himself. They are born, not framed; they are a strain rather than a composition; and their perfection is the monument, not so much of his skill as of his power. And this is true of prose as well as of verse in its degree: who will not recognize in the vision of Mirza a delicacy and beauty of style which is very difficult to describe, but which is felt to be in exact correspondence to the ideas of which it is the expression?

5.
And, since the thoughts and reasonings of an author have, as I have said, a personal character, no wonder that his style is not only the image of his subject, but of his mind. That pomp of language, that full and tuneful diction, that felicitousness in the choice and exquisiteness in the collocation of words, which to prosaic writers seem artificial, is nothing else but the mere habit and way of a lofty intellect. Aristotle, in his sketch of the magnanimous man, tells us that his voice is deep, his motions slow, and his stature commanding. In like manner, the elocution of a great intellect is great. His language expresses, not only his great thoughts, but his great self. Certainly he might use fewer words than he uses; but he fertilizes his simplest ideas, and germinates into a multitude of details, and prolongs the march of his sentences, and sweeps round to the full diapason of his harmony, as if κύδεϊ γαίων, rejoicing in his own vigour and richness of resource. I say, a narrow critic will call it verbiage, when really it is a sort of fulness of heart, parallel to that which makes the merry boy whistle as he walks, or the strong man, like the smith in the novel, flourish his club when there is no one to fight with.

Shakespeare furnishes us with frequent instances of this peculiarity, and all so beautiful, that it is difficult to select for quotation. For instance, in Macbeth:--

“Canst thou not minister to a mind diseased, Pluck from the memory a rooted sorrow, Raze out the written troubles of the brain, And, with some sweet oblivious antidote, Cleanse the foul bosom of that perilous stuff, Which weighs upon the heart?”

Here a simple idea, by a process which belongs to the orator rather than to the poet, but still comes from the native vigour of genius, is expanded into a many-membered period.

The following from Hamlet is of the same kind:--

“’Tis not alone my inky cloak, good mother, Nor customary suits of solemn black, Nor windy suspiration of forced breath, No, nor the fruitful river in the eye, Nor the dejected haviour of the visage, Together with all forms, modes, shows of grief, That can denote me truly.”

Now, if such declamation, for declamation it is, however noble, be allowable in a poet, whose genius is so far removed from pompousness or pretence, much more is it allowable in an orator, whose very province it is to put forth words to the best advantage he can. Cicero has nothing more redundant in any part of his writings than these passages from Shakespeare. No lover then at least of Shakespeare may fairly accuse Cicero of gorgeousness of phraseology or diffuseness of style. Nor will any sound critic be tempted to do so. As a certain unaffected neatness and propriety and grace of diction may be required of any author who lays claim to be a classic, for the same reason that a certain attention to dress is expected of every gentleman, so to Cicero may be allowed the privilege of the “os magna sonaturum,” of which the ancient critic speaks. His copious, majestic, musical flow of language, even if sometimes beyond what the subject-matter demands, is never out of keeping with the occasion or with the speaker. It is the expression of lofty sentiments in lofty sentences, the “mens magna in corpore magno.” It is the development of the inner man. Cicero vividly realised the _status_ of a Roman senator and statesman, and the “pride of place” of Rome, in all the grace and grandeur which attached to her; and he imbibed, and became, what he admired. As the exploits of Scipio or Pompey are the expression of this greatness in deed, so the language of Cicero is the expression of it in word. And, as the acts of the Roman ruler or soldier represent to us, in a manner special to themselves, the characteristic magnanimity of the lords of the earth, so do the speeches or treatises of her accomplished orator bring it home to our imaginations as no other writing could do. Neither Livy, nor Tacitus, nor Terence, nor Seneca, nor Pliny, nor Quintilian, is an adequate spokesman for the Imperial City. They write Latin; Cicero writes Roman.

6.
You will say that Cicero’s language is undeniably studied, but that Shakespeare’s is as undeniably natural and spontaneous; and that this is what is meant, when the Classics are accused of being mere artists of words. Here we are introduced to a further large question, which gives me the opportunity of anticipating a misapprehension of my meaning. I observe, then, that, not only is that lavish richness of style, which I have noticed in Shakespeare, justifiable on the principles which I have been laying down, but, what is less easy to receive, even elaborateness in composition is no mark of trick or artifice in an author. Undoubtedly the works of the Classics, particularly the Latin, _are_ elaborate; they have cost a great deal of time, care, and trouble. They have had many rough copies; I grant it. I grant also that there are writers of name, ancient and modern, who really are guilty of the absurdity of making sentences, as the very end of their literary labour. Such was Isocrates; such were some of the sophists; they were set on words, to the neglect of thoughts or things; I cannot defend them. If I must give an English instance of this fault, much as I love and revere the personal character and intellectual vigour of Dr. Johnson, I cannot deny that his style often outruns the sense and the occasion, and is wanting in that simplicity which is the attribute of genius. Still, granting all this, I cannot grant, notwithstanding, that genius never need take pains,—that genius may not improve by practice,—that it never incurs failures, and succeeds the second time,—that it never finishes off at leisure what it has thrown off in the outline at a stroke.

Take the instance of the painter or the sculptor; he has a conception in his mind which he wishes to represent in the medium of his art;—the Madonna and Child, or Innocence, or Fortitude, or some historical character or event. Do you mean to say he does not study his subject? does he not make sketches? does he not even call them “studies”? does he not call his workroom a _studio_? is he not ever designing, rejecting, adopting, correcting, perfecting? Are not the first attempts of Michael Angelo and Raffaelle extant, in the case of some of their most celebrated compositions? Will any one say that the Apollo Belvidere is not a conception patiently elaborated into its proper perfection? These departments of taste are, according to the received notions of the world, the very province of genius, and yet we call them _arts_; they are the “Fine Arts.” Why may not that be true of literary composition which is true of painting, sculpture, architecture, and music? Why may not language be wrought as well as the clay of the modeller? why may not words be worked up as well as colours? why should not skill in diction be simply subservient and instrumental to the great prototypal ideas which are the contemplation of a Plato or a Virgil? Our greatest poet tells us,

“The poet’s eye, in a fine frenzy rolling, Doth glance from heaven to earth, from earth to heaven, And, as imagination bodies forth The forms of things unknown, the poet’s pen Turns them to shapes, and gives to airy nothing A local habitation and a name.”

Now, is it wonderful that that pen of his should sometimes be at fault for a while,—that it should pause, write, erase, re-write, amend, complete, before he satisfies himself that his language has done justice to the conceptions which his mind’s eye contemplated?

In this point of view, doubtless, many or most writers are elaborate; and those certainly not the least whose style is furthest removed from ornament, being simple and natural, or vehement, or severely business-like and practical. Who so energetic and manly as Demosthenes? Yet he is said to have transcribed Thucydides many times over in the formation of his style. Who so gracefully natural as Herodotus? yet his very dialect is not his own, but chosen for the sake of the perfection of his narrative. Who exhibits such happy negligence as our own Addison? yet artistic fastidiousness was so notorious in his instance that the report has got abroad, truly or not, that he was too late in his issue of an important state-paper, from his habit of revision and recomposition. Such great authors were working by a model which was before the eyes of their intellect, and they were labouring to say what they had to say, in such a way as would most exactly and suitably express it. It is not wonderful that other authors, whose style is not simple, should be instances of a similar literary diligence. Virgil wished his Æneid to be burned, elaborate as is its composition, because he felt it needed more labour still, in order to make it perfect. The historian Gibbon in the last century is another instance in point. You must not suppose I am going to recommend his style for imitation, any more than his principles; but I refer to him as the example of a writer feeling the task which lay before him, feeling that he had to bring out into words for the comprehension of his readers a great and complicated scene, and wishing that those words should be adequate to his undertaking. I think he wrote the first chapter of his History three times over; it was not that he corrected or improved the first copy; but he put his first essay, and then his second, aside—he recast his matter, till he had hit the precise exhibition of it which he thought demanded by his subject.

Now in all these instances, I wish you to observe, that what I have admitted about literary workmanship differs from the doctrine which I am opposing in this,—that the mere dealer in words cares little or nothing for the subject which he is embellishing, but can paint and gild anything whatever to order; whereas the artist, whom I am acknowledging, has his great or rich visions before him, and his only aim is to bring out what he thinks or what he feels in a way adequate to the thing spoken of, and appropriate to the speaker.

7.
The illustration which I have been borrowing from the Fine Arts will enable me to go a step further. I have been showing the connection of the thought with the language in literary composition; and in doing so I have exposed the unphilosophical notion, that the language was an extra which could be dispensed with, and provided to order according to the demand. But I have not yet brought out, what immediately follows from this, and which was the second point which I had to show, viz., that to be capable of easy translation is no test of the excellence of a composition. If I must say what I think, I should lay down, with little hesitation, that the truth was almost the reverse of this doctrine. Nor are many words required to show it. Such a doctrine, as is contained in the passage of the author whom I quoted when I began, goes upon the assumption that one language is just like another language,—that every language has all the ideas, turns of thought, delicacies of expression, figures, associations, abstractions, points of view, which every other language has. Now, as far as regards Science, it is true that all languages are pretty much alike for the purposes of Science; but even in this respect some are more suitable than others, which have to coin words, or to borrow them, in order to express scientific ideas. But if languages are not all equally adapted even to furnish symbols for those universal and eternal truths in which Science consists, how can they reasonably be expected to be all equally rich, equally forcible, equally musical, equally exact, equally happy in expressing the idiosyncratic peculiarities of thought of some original and fertile mind, who has availed himself of one of them? A great author takes his native language, masters it, partly throws himself into it, partly moulds and adapts it, and pours out his multitude of ideas through the variously ramified and delicately minute channels of expression which he has found or framed:—does it follow that this his personal presence (as it may be called) can forthwith be transferred to every other language under the sun? Then may we reasonably maintain that Beethoven’s _piano_ music is not really beautiful, because it cannot be played on the hurdy-gurdy. Were not this astonishing doctrine maintained by persons far superior to the writer whom I have selected for animadversion, I should find it difficult to be patient under a gratuitous extravagance. It seems that a really great author must admit of translation, and that we have a test of his excellence when he reads to advantage in a foreign language as well as in his own. Then Shakespeare _is_ a genius because he can be translated into German, and _not_ a genius because he cannot be translated into French. Then the multiplication-table is the most gifted of all conceivable compositions, because it loses nothing by translation, and can hardly be said to belong to any one language whatever. Whereas I should rather have conceived that, in proportion as ideas are novel and recondite, they would be difficult to put into words, and that the very fact of their having insinuated themselves into one language would diminish the chance of that happy accident being repeated in another. In the language of savages you can hardly express any idea or act of the intellect at all: is the tongue of the Hottentot or Esquimaux to be made the measure of the genius of Plato, Pindar, Tacitus, St. Jerome, Dante, or Cervantes?

Let us recur, I say, to the illustration of the Fine Arts. I suppose you can express ideas in painting which you cannot express in sculpture; and the more an artist is of a painter, the less he is likely to be of a sculptor. The more he commits his genius to the methods and conditions of his own art, the less he will be able to throw himself into the circumstances of another. Is the genius of Fra Angelico, of Francia, or of Raffaelle disparaged by the fact that he was able to do that in colours which no man that ever lived, which no Angel, could achieve in wood? Each of the Fine Arts has its own subject-matter; from the nature of the case you can do in one what you cannot do in another; you can do in painting what you cannot do in carving; you can do in oils what you cannot do in fresco; you can do in marble what you cannot do in ivory; you can do in wax what you cannot do in bronze. Then, I repeat, applying this to the case of languages, why should not genius be able to do in Greek what it cannot do in Latin? and why are its Greek and Latin works defective because they will not turn into English? That genius, of which we are speaking, did not make English; it did not make all languages, present, past, and future; it did not make the laws of _any_ language: why is it to be judged of by that in which it had no part, over which it has no control?

8.
And now we are naturally brought on to our third point, which is on the characteristics of Holy Scripture as compared with profane literature. Hitherto we have been concerned with the doctrine of these writers, viz., that style is an _extra_, that it is a mere artifice, and that hence it cannot be translated; now we come to their fact, viz., that Scripture has no such artificial style, and that Scripture can easily be translated. Surely their fact is as untenable as their doctrine.

Scripture easy of translation! then why have there been so few good translators? why is it that there has been such great difficulty in combining the two necessary qualities, fidelity to the original and purity in the adopted vernacular? why is it that the authorized versions of the Church are often so inferior to the original as compositions, except that the Church is bound above all things to see that the version is doctrinally correct, and in a difficult problem is obliged to put up with defects in what is of secondary importance, provided she secure what is of first? If it were so easy to transfer the beauty of the original to the copy, she would not have been content with her received version in various languages which could be named.

And then in the next place, Scripture not elaborate! Scripture not ornamented in diction, and musical in cadence! Why, consider the Epistle to the Hebrews—where is there in the classics any composition more carefully, more artificially written? Consider the book of Job—is it not a sacred drama, as artistic, as perfect, as any Greek tragedy of Sophocles or Euripides? Consider the Psalter—are there no ornaments, no rhythm, no studied cadences, no responsive members, in that divinely beautiful book? And is it not hard to understand? are not the Prophets hard to understand? is not St. Paul hard to understand? Who can say that these are popular compositions? who can say that they are level at first reading with the understandings of the multitude?

That there are portions indeed of the inspired volume more simple both in style and in meaning, and that these are the more sacred and sublime passages, as, for instance, parts of the Gospels, I grant at once; but this does not militate against the doctrine I have been laying down. Recollect, Gentlemen, my distinction when I began. I have said Literature is one thing, and that Science is another; that Literature has to do with ideas, and Science with realities; that Literature is of a personal character, that Science treats of what is universal and eternal. In proportion, then, as Scripture excludes the personal colouring of its writers, and rises into the region of pure and mere inspiration, when it ceases in any sense to be the writing of man, of St. Paul or St. John, of Moses or Isaias, then it comes to belong to Science, not Literature. Then it conveys the things of heaven, unseen verities, divine manifestations, and them alone—not the ideas, the feelings, the aspirations, of its human instruments, who, for all that they were inspired and infallible, did not cease to be men. St. Paul’s epistles, then, I consider to be literature in a real and true sense, _as_ personal, _as_ rich in reflection and emotion, as Demosthenes or Euripides; and, without ceasing to be revelations of objective truth, they are expressions of the subjective notwithstanding. On the other hand, portions of the Gospels, of the book of Genesis, and other passages of the Sacred Volume, are of the nature of Science. Such is the beginning of St. John’s Gospel, which we read at the end of Mass. Such is the Creed. I mean, passages such as these are the mere enunciation of eternal things, without (so to say) the medium of any human mind transmitting them to us. The words used have the grandeur, the majesty, the calm, unimpassioned beauty of Science; they are in no sense Literature, they are in no sense personal; and therefore they are easy to apprehend, and easy to translate.

Did time admit I could show you parallel instances of what I am speaking of in the Classics, inferior to the inspired word in proportion as the subject-matter of the classical authors is immensely inferior to the subjects treated of in Scripture—but parallel, inasmuch as the classical author or speaker ceases for the moment to have to do with Literature, as speaking of things objectively, and rises to the serene sublimity of Science. But I should be carried too far if I began.

9.
I shall then merely sum up what I have said, and come to a conclusion. Reverting, then, to my original question, what is the meaning of Letters, as contained, Gentlemen, in the designation of your Faculty, I have answered, that by Letters or Literature is meant the expression of thought in language, where by “thought” I mean the ideas, feelings, views, reasonings, and other operations of the human mind. And the Art of Letters is the method by which a speaker or writer brings out in words, worthy of his subject, and sufficient for his audience or readers, the thoughts which impress him. Literature, then, is of a personal character; it consists in the enunciations and teachings of those who have a right to speak as representatives of their kind, and in whose words their brethren find an interpretation of their own sentiments, a record of their own experience, and a suggestion for their own judgments. A great author, Gentlemen, is not one who merely has a _copia verborum_, whether in prose or verse, and can, as it were, turn on at his will any number of splendid phrases and swelling sentences; but he is one who has something to say and knows how to say it. I do not claim for him, as such, any great depth of thought, or breadth of view, or philosophy, or sagacity, or knowledge of human nature, or experience of human life, though these additional gifts he may have, and the more he has of them the greater he is; but I ascribe to him, as his characteristic gift, in a large sense the faculty of Expression. He is master of the two-fold Logos, the thought and the word, distinct, but inseparable from each other. He may, if so be, elaborate his compositions, or he may pour out his improvisations, but in either case he has but one aim, which he keeps steadily before him, and is conscientious and single-minded in fulfilling. That aim is to give forth what he has within him; and from his very earnestness it comes to pass that, whatever be the splendour of his diction or the harmony of his periods, he has with him the charm of an incommunicable simplicity. Whatever be his subject, high or low, he treats it suitably and for its own sake. If he is a poet, “nil molitur _ineptè_.” If he is an orator, then too he speaks, not only “distinctè” and “splendidè,” but also “_aptè_.” His page is the lucid mirror of his mind and life--

“Quo fit, ut omnis Votivâ pateat veluti descripta tabellâ Vita senis.”

He writes passionately, because he feels keenly; forcibly, because he conceives vividly; he sees too clearly to be vague; he is too serious to be otiose; he can analyze his subject, and therefore he is rich; he embraces it as a whole and in its parts, and therefore he is consistent; he has a firm hold of it, and therefore he is luminous. When his imagination wells up, it overflows in ornament; when his heart is touched, it thrills along his verse. He always has the right word for the right idea, and never a word too much. If he is brief, it is because few words suffice; when he is lavish of them, still each word has its mark, and aids, not embarrasses, the vigorous march of his elocution. He expresses what all feel, but all cannot say; and his sayings pass into proverbs among his people, and his phrases become household words and idioms of their daily speech, which is tesselated with the rich fragments of his language, as we see in foreign lands the marbles of Roman grandeur worked into the walls and pavements of modern palaces.

Such pre-eminently is Shakespeare among ourselves; such pre-eminently Virgil among the Latins; such in their degree are all those writers who in every nation go by the name of Classics. To particular nations they are necessarily attached from the circumstance of the variety of tongues, and the peculiarities of each; but so far they have a catholic and ecumenical character, that what they express is common to the whole race of man, and they alone are able to express it.

10.
If then the power of speech is a gift as great as any that can be named,—if the origin of language is by many philosophers even considered to be nothing short of divine,—if by means of words the secrets of the heart are brought to light, pain of soul is relieved, hidden grief is carried off, sympathy conveyed, counsel imparted, experience recorded, and wisdom perpetuated,—if by great authors the many are drawn up into unity, national character is fixed, a people speaks, the past and the future, the East and the West are brought into communication with each other,—if such men are, in a word, the spokesmen and prophets of the human family,—it will not answer to make light of Literature or to neglect its study; rather we may be sure that, in proportion as we master it in whatever language, and imbibe its spirit, we shall ourselves become in our own measure the ministers of like benefits to others, be they many or few, be they in the obscurer or the more distinguished walks of life,—who are united to us by social ties, and are within the sphere of our personal influence.

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Lecture 3 - English Catholic Literature

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The Idea of a University Defined and Illustrated by John Henry Cardinal Newman

University Subjects, Discussed in Occasional Lectures and Essays

Lecture 1 - Christianity And Letters. A Lecture in the School of Philosophy and Letters

Lecture 2 - Literature. A Lecture in the School of Philosophy and Letters

Lecture 3 - English Catholic Literature

Lecture 4 - Elementary Studies

Lecture 5 - A Form Of Infidelity Of The Day

Lecture 6 - University Preaching

Lecture 7 - Christianity and Physical Science. A Lecture in the School of Medicine

Lecture 8 - Christianity And Scientific Investigation. A Lecture Written for the School of Science

Lecture 9 - Discipline Of Mind. An Address To The Evening Classes

Lecture 10 - Christianity And Medical Science. An Address to the Students Of Medicine

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        • The Idea of a University, Discourse 1: Introductory
        • The Idea of a University, Discourse 2: Theology A Branch Of Knowledge
        • The Idea of a University, Discourse 3: Bearing Of Theology On Other Branches Of Knowledge
        • The Idea of a University, Discourse 4: Bearing Of Other Branches Of Knowledge On Theology
        • The Idea of a University, Discourse 5: Knowledge Its Own End
        • The Idea of a University, Discourse 6: Knowledge Viewed In Relation To Learning
        • The Idea of a University, Discourse 7: Knowledge Viewed In Relation To Professional Skill
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          • Lecture 1 - Christianity And Letters. A Lecture in the School of Philosophy and Letters
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          • Lecture 4 - Elementary Studies
          • Lecture 5 - A Form Of Infidelity Of The Day
          • Lecture 6 - University Preaching
          • Lecture 7 - Christianity and Physical Science. A Lecture in the School of Medicine
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          • Lecture 10 - Christianity And Medical Science. An Address to the Students Of Medicine
      • Loss and Gain: The Story of a Convert by John Henry Cardinal Newman >
        • Loss and Gain, Part 1, Chapter 1 >
          • Loss and Gain, Part 1, Chapter 2
          • Loss and Gain, Part 1, Chapter 3
          • Loss and Gain, Part 1, Chapter 4
          • Loss and Gain, Part 1, Chapter 5
          • Loss and Gain, Part 1, Chapter 6
          • Loss and Gain, Part 1, Chapter 7
          • Loss and Gain, Part 1, Chapter 8
          • Loss and Gain, Part 1, Chapter 9
          • Loss and Gain, Part 1, Chapter 10
          • Loss and Gain, Part 1, Chapter 11
          • Loss and Gain, Part 1, Chapter 12
          • Loss and Gain, Part 1, Chapter 13
          • Loss and Gain, Part 1, Chapter 14
          • Loss and Gain, Part 1, Chapter 15
          • Loss and Gain, Part 1, Chapter 16
          • Loss and Gain, Part 1, Chapter 17
          • Loss and Gain, Part 1, Chapter 18
        • Loss and Gain, Part 2, Chapter 1 >
          • Loss and Gain, Part 2, Chapter 2
          • Loss and Gain, Part 2, Chapter 3
          • Loss and Gain, Part 2, Chapter 4
          • Loss and Gain, Part 2, Chapter 5
          • Loss and Gain, Part 2, Chapter 6
          • Loss and Gain, Part 2, Chapter 7
          • Loss and Gain, Part 2, Chapter 8
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          • Loss and Gain, Part 2, Chapter 11
          • Loss and Gain, Part 2, Chapter 12
          • Loss and Gain, Part 2, Chapter 13
          • Loss and Gain, Part 2, Chapter 14
          • Loss and Gain, Part 2, Chapter 15
          • Loss and Gain, Part 2, Chapter 16
          • Loss and Gain, Part 2, Chapter 17
          • Loss and Gain, Part 2, Chapter 18
          • Loss and Gain, Part 2, Chapter 19
          • Loss and Gain, Part 2, Chapter 20
          • Loss and Gain, Part 2, Chapter 21
        • Loss and Gain, Part 3, Chapter 1 >
          • Loss and Gain, Part 3, Chapter 2
          • Loss and Gain, Part 3, Chapter 3
          • Loss and Gain, Part 3, Chapter 4
          • Loss and Gain, Part 3, Chapter 5
          • Loss and Gain, Part 3, Chapter 6
          • Loss and Gain, Part 3, Chapter 7
          • Loss and Gain, Part 3, Chapter 8
          • Loss and Gain, Part 3, Chapter 9
          • Loss and Gain, Part 3, Chapter 10
          • Loss and Gain, Part 3, Chapter 11
    • Saint Augustine of Hippo >
      • The Confessions of Saint Augustine by Saint Augustine, Bishop of Hippo >
        • Book 1 - Confessions by St. Augustine
        • Book 2 - Confessions by St. Augustine
        • Book 3 - Confessions by St. Augustine
        • Book 4 - Confessions by St. Augustine
        • Book 5 - Confessions by St. Augustine
        • Book 6 - Confessions by St. Augustine
        • Book 7 - Confessions by St. Augustine
        • Book 8 - Confessions by St. Augustine
        • Book 9 - Confessions by St. Augustine
        • Book 10 - Confessions by St. Augustine
        • Book 11 - Confessions by St. Augustine
        • Book 12 - Confessions by St. Augustine
        • Book 13 - Confessions by St. Augustine
    • G K Chesterton >
      • Heretics by G.K. Chesterton >
        • Heretics, Chapter 1: Introductory Remarks on the Importance of Orthodoxy
        • Heretics, Chapter 2: On the Negative Spirit
        • Heretics, Chapter 3: On Mr. Rudyard Kipling and Making the World Small
        • Heretics, Chapter 4: Mr. Bernard Shaw
        • Heretics, Chapter 5: Mr. H.G. Wells and the Giants
        • Heretics, Chapter 6: Christmas and the Aesthetes
        • Heretics, Chapter 7: Omar and the Sacred Vine
        • Heretics, Chapter 8: The Mildness of the Yellow Press
        • Heretics, Chapter 9: The Moods of Mr. George Moore
        • Heretics, Chapter 10: On Sandals and Simplicity
        • Heretics, Chapter 11: Science and the Savages
        • Heretics, Chapter 12: Paganism and Mr. Lowes Dickinson
        • Heretics, Chapter 13: Celts and Celtophiles
        • Heretics, Chapter 14: On Certain Modern Writers and the Institution of the Family
        • Heretics, Chapter 15: On Smart Novelists and the Smart Set
        • Heretics, Chapter 16: On Mr. McCabe and a Divine Frivolity
        • Heretics, Chapter 17: On the Wit of Whistler
        • Heretics, Chapter 18: The Fallacy of the Young Nation
        • Heretics, Chapter 19: Slum Novelists and the Slums
        • Heretics, Chapter 20: Concluding Remarks on the Importance of Orthodoxy
      • Orthodoxy by G. K. Chesterton >
        • Orthodoxy, Chapter 1: Introduction in Defense of Everything Else
        • Orthodoxy, Chapter 2: The Maniac
        • Orthodoxy, Chapter 3: The Suicide of Thought
        • Orthodoxy, Chapter 4: The Ethics of Elfland
        • Orthodoxy, Chapter 5: The Flag of the World
        • Orthodoxy, Chapter 6: The Paradoxes of Christianity
        • Orthodoxy, Chapter 7: The Eternal Revolution
        • Orthodoxy, Chapter 8: The Romance of Orthodoxy
        • Orthodoxy, Chapter 9: Authority and the Adventurer
    • Saint Thomas Aquinas >
      • On Prayer and the Contemplative Life by St. Thomas Aquinas >
        • On Prayer, Question LXXXI: Of the Virtue of Religion
        • On Prayer, Question LXXXII: Of Devotion
        • On Prayer, Question LXXXIII: Of Prayer
        • On Prayer, Question LXXII: Of the Prayers of the Saints who are in Heaven
        • On Prayer, Question CLXXIX: Of the Division of Life into the Active and the Contemplative
        • On Prayer, Question CLXXX: Of the Contemplative Life
        • On Prayer, Question CLXXXI: Of the Active Life
        • On Prayer, Question CLXXXII: Of the Comparison between the Active and the Contemplative Life
        • On Prayer, Question CLXXXVI: On the Religious State
      • Summa Theologica Part 1 ("Prima Pars") by St. Thomas Aquinas >
        • Summa Theologica (Questions 1 - 26)
        • Summa Theologica: Treatise on the Most Holy Trinity (Questions 27 - 43)
        • Summa Theologica: Treatise on the Creation (Questions 44 - 49)
        • Summa Theologica: Treatise on the Angels (Questions 50 - 64)
        • Summa Theologica: Treatise on the Work of the Six Days (Questions 65 - 74)
        • Summa Theologica: Treatise on Man (Questions 75 - 102)
        • Summa Theologica: Treatise on the Conservation and Government of Creatures (Questions 103 - 119)
      • Summa Theologica Part 1-2 ("Prima Secundae") by St. Thomas Aquinas >
        • Summa Theologica Part 1-2 ("Prima Secundae"): Treatise on the Last End (Questions 1 - 5)
        • Summa Theologica Part 1-2 ("Prima Secundae"): Treatise on Human Acts: Acts Peculiar to Man (Questions 6 - 21)
        • Summa Theologica Part 1-2 ("Prima Secundae"): Treatise on the Passions (Questions 22 - 48)
        • Summa Theologica Part 1-2 ("Prima Secundae"): Treatise on Habits (Questions 49 - 54)
        • Summa Theologica Part 1-2 ("Prima Secundae"): Treatise on Habits in Particular (Questions 55 - 89): Good Habits, i.e., Virtues (Questions 55 - 70)
        • Summa Theologica Part 1-2 ("Prima Secundae"): Treatise on Habits in Particular (Questions 55 - 89): Evil Habits, i.e., Vices and Sin (Questions 71 - 89)
        • Summa Theologica Part 1-2 ("Prima Secundae"): Treatise on Law (Questions 90 - 108)
        • Summa Theologica Part 1-2 ("Prima Secundae"): Treatise on Grace (Questions 109 - 114)
      • Summa Theologica Part 2-2 ("Second Secundae") by St. Thomas Aquinas >
        • Summa Theologica Part 2-2 ("Second Secundae"): Treatise on the Theological Virtues (Questions 1 - 46)
        • Summa Theologica Part 2-2 ("Second Secundae"): Treatise on the Cardinal Virtues (Questions 47 - 122)
        • Summa Theologica Part 2-2 ("Second Secundae"): Treatise on Fortitude and Temperance (Questions 123 - 170)
        • Summa Theologica Part 2-2 ("Second Secundae"): Treatise on Gratuitous Graces (Questions 171 - 182)
        • Summa Theologica Part 2-2 ("Second Secundae"): Treatise on the States of Life (Questions 183 - 189)
      • Summa Theologica Third Part ("Tertia Pars") by St. Thomas Aquinas >
        • Summa Theologica Third Part ("Tertia Pars"): Treatise on the Incarnation (Questions 1 - 59)
        • Summa Theologica Third Part ("Tertia Pars"): Treatise on the Sacraments (Questions 60 - 90)
    • The Baltimore Catechism >
      • The Baltimore Catechism, Vol. 1
      • The Baltimore Catechism, Vol. 2
      • The Baltimore Catechism, Vol. 3
      • The Baltimore Catechism, Vol. 4
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