The Autobiography of William Jerdan
Authors and Artists.
B, p. 42.
I had purposed in this Appendix to have gone more into the details of
authorship, and demonstrated beyond controversy, from the multitude of the unsuccessful
and unfortunate, and the paucity in numbers of those who have reached any moderate
degree of opulence, the truth of the positions I have laid down in regard to literary
pursuits. But the task has grown too large for the summary view I intended for it; and
in order to do it justice, I must defer making up my materials to a future and more
convenient opportunity. In the mean time, I may refer my readers, for a taste, to
“Disraeli’s Calamities of Authors,” and
assure them of a list from me not less disastrous and miserable. Such scenes of
destitution as I have witnessed, and thank God! often been enabled to alleviate; would
force the most buoyant proclaimer of the literary man’s millenium to confess that
there was more universal failure in their objects, and frustration of their hopes, and
also a lower depth of woe into
which they were often
precipitated, than could be predicated of any other educated and intelligent class. How
does the pride of genius aggravate the suffering! That pride, like ivy, climbs the
highest, and luxuriates the most, where the ruin is the greatest, where the stateliest
fabric is mouldering most rapidly and surely into decay, where the noble mind is
overthrown and all is wreck:—
“Why to this stormy world, from their long rest,
Are these recall’d, to be again displeased,
Where, during Nature’s reign, we are opprest,
Till we by Death’s high privilege are eased.
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“As rivers to their ruin hasty be,
So life (still earnest, loud, and swift) runs post
To the vast gulf of death, as they to sea,
And. vainly travels to be quickly lost.”— Davenant.
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I abstain, then, for the present, from going into this sad and painful
inquiry; but cannot help suggesting only one argument more, to show the disparity of
the rewards which attend the productions of authors and artists; assuredly not
begrudging but heartily wishing increase to the latter. But let us quietly set down, in
two lines, ten of the one class opposite to ten of the other, and ask the public
judgment on the comparison:—
The first column of high intellectual names, which will live for ever
in the annals of literature, for the delight they have afforded to mankind, might sum
up all their pecuniary gains through the whole of their lives and labours at a very few
thousands, probably not more altogether than Turner amassed; and if you add the sums, very justly and meritoriously
earned by the other nine, you will hardly come to the conclusion that the Poet
and the Painter are equally well off in the distribution of
remuneration for their labours. I contend, therefore, that higher intellect being
requisite in the one case than in the other—not that the artist is too liberally
encouraged, but that the author is ill requited and wronged.
I have not mentioned such names as those of Burns, Hogg, and
a long catalogue of others whose lives have been spent in acquiring lasting fame in the
turmoil of lasting struggle for bare existence; and only add, for the present, the case
of Mr. Horne, the author of an Epic, which could
not command a great sale at the price of one farthing, and whom one of my critics has
set forth to show that infinitely higher genius than mine has been far less
rewarded—which may be true enough—but surely it makes for my argument (and not the
reverse) that literary merit is rather an unproductive freehold.
“TO THE EDITOR OF THE DAILY NEWS.
“Australian ship Kent, Plymouth Sound, June 9, 1852.
“Sir,
“Various statements having been made in certain
quarters of the press concerning my departure for Australia, may I request
you will do me the kindness to insert these few words. Considering the
great appreciation I received on the publication of my earliest works from
some of the noblest intellects of the time, and that during a long period I
have experienced the same from nearly all the foremost men in literature,
in science, and in art, it would be equally absurd and ungrateful in me to
complain of neglect. But while I repudiate all personal complaints at those
circumstances which from times immemorial (and memorial) have been the
common inheritance of all poets who had a lofty aim and no adventitious
aids, I may be permitted simply to record the fact of twenty years of
public indifference. This has continued nearly unbroken, so far as my
substantive works are concerned, in the face of more elaborate
philosophical analysis and criticism, and far higher eulogies, than any
poet could reasonably expect during his life. With this record I take my
leave.
“Let me add, however, that I bear with me a
profound emotion towards those, whether strangers or friends (and they are
not a few), by whom my writings have been received in the spirit in which
they were composed.
“I am, Sir, your obedient servant,
James Beattie (1735-1803)
Scottish poet and professor of moral philosophy and logic at Marischal College, author of
Essay on the Nature and Immutability of Truth (1770), and
The Minstrel (1771, 1774).
Sir William Boxall (1800-1879)
English portrait-painter who studied at the Royal Academy and succeeded Sir Charles
Eastlake as director of the National Gallery in 1866.
Robert Burns (1759-1796)
Scottish poet and song collector; author of
Poems, chiefly in the
Scottish Dialect (1786).
William John Thomas Collins (1788-1847)
English landscape and genre painter, the friend of the painters Sir David Wilkie and
Washington Allston and acquaintance of the Lake Poets.
George Crabbe (1754-1832)
English poet renowned for his couplet verse and gloomy depictions of country persons and
places; author of the
The Village (1783),
The
Parish Register (1807),
The Borough (1810), and
Tales of the Hall (1819).
George Croly (1780-1860)
Anglo-Irish poet, novelist, and essayist for Blackwood's; his gothic novel
Salathiel (1828) was often reprinted.
Isaac D'Israeli (1766-1848)
English essayist and literary biographer; author of
Curiosities of
Literature (1791). Father of the prime minister.
Sir William Davenant (1606-1668)
English poet and playwright; he was poet laureate (1638) and founder of the Duke's
Company (1660).
Sir Charles Lock Eastlake (1793-1865)
English painter educated at Charterhouse; he was a student of Benjamin Robert Haydon, a
member of the Plymouth Institute, and was director of the National Gallery in London
(1850-65).
James Hogg [The Ettrick Shepherd] (1770-1835)
Scottish autodidact, poet, and novelist; author of
The Queen's
Wake (1813) and
Private Memoirs and Confessions of a Justified
Sinner (1824).
Richard Hengist Horne (1802-1884)
English poet and novelist educated at Sandhurst; he imitated Shelley and corresponded
with Elizabeth Barrett.
John Kenyon (1784-1856)
Educated at Peterhouse, Cambridge, and Lincoln's Inn, he was a one-time neighbor of
Coleridge, Southey, and Wordsworth who became a London host and patron and published
several volumes of poems.
James Sheridan Knowles (1784-1862)
Irish-born playwright, author of
Virginius (1820),
Caius Gracchus (1823),
William Tell (1825)
and
The Hunchback (1832).
Sir Edwin Henry Landseer (1802-1873)
English painter trained at the Royal Academy schools, renowned for his portraits of
animals—he painted Walter Scott with his dogs.
Daniel Maclise (1806-1870)
Irish painter who exhibited at the Royal Academy and executed a famous series of
portraits of literary celebrities that appeared in
Fraser's Magazine
from 1830 to 1838.
David Roberts (1796-1864)
Scottish-born artist employed as a scene-painter before travelling in the Middle-East and
exhibiting at the Royal Academy from 1826.
Robert Southey (1774-1843)
Poet laureate and man of letters whose contemporary reputation depended upon his prose
works, among them the
Life of Nelson, 2 vols (1813),
History of the Peninsular War, 3 vols (1823-32) and
The Doctor, 7 vols (1834-47).
Clarkson Stanfield (1793-1867)
After service in the Navy he became a scene-painter for Drury Lane and was afterwards a
marine and landscape painter and Royal Academician (1835).
Charles Swain (1801-1874)
Manchester poet, bookseller, and engraver admired by Robert Southey; he published several
long poems, including
The Mind (1832) in Spenserian stanzas.
Sir Thomas Noon Talfourd (1795-1854)
English judge, dramatist, and friend of Charles Lamb who contributed articles to the
London Magazine and
New Monthly
Magazine.
Alfred Tennyson, first baron Tennyson (1809-1892)
English poet who succeeded William Wordsworth as Poet Laureate in 1850; he published
Poems, chiefly Lyrical (1830) and
Idylls of the
King (1859, 1869, 1872).
Joseph Mallord William Turner (1775-1851)
English landscape and history painter who left his collection to the National Gallery and
Tate Gallery.
Thomas Uwins (1782-1857)
English painter and illustrator who did work for Rudolph Ackermann, was elected to the
Royal Academy, and was surveyor of pictures to Queen Victoria (1845) and keeper of the
National Gallery (1847).
Thomas Webster (1800-1886)
English genre painter who exhibited at the Royal Academy and illustrated scenes from
Goldsmith, Shenstone, Lamb, Wordsworth, and Dickens.
William Wordsworth (1770-1850)
With Coleridge, author of
Lyrical Ballads (1798), Wordsworth
survived his early unpopularity to succeed Robert Southey as poet laureate in 1843.