sessor inherits from a long line of illustrious ancestors! How much honor and honesty have been forfeited to be graced with a title or a ribbon; how much genius and worth have sunk to the grave, without an escutcheon and without an epitaph! As men of rank and fortune keep lacqueys to reinforce their claims to self-respect, so men of genius sometimes surround themselves with a coterie of admirers to increase their reputation with the public. These proneurs, or satellites, repeat all their good things, laugh loud at all their jokes, and remember all their oracular decrees. They are their shadows and echoes. They talk of them in all companies, and bring back word of all that has been said about them. They hawk the good qualities of their patrons, as shopmen and barkers tease you to buy goods. I have no notion of this vanity at second-hand; nor can I see how this servile testimony from inferiors ("some followers of mine own") can be a proof of merit. It may soothe the ear; but that it should impose on the understanding, I own surprises me: yet there are persons who cannot exist without a cortége of this kind about them, in which they smiling read the opinion of the world, in the midst of all sorts of rancorous abuse and hostility, as Otho called for his mirror in the Illyrian field. One good thing is, that this evil, in some degree, cures itself; and when a man has been nearly ruined by a herd of these sycophants, he finds them leaving him, like thriftless dependents, for some more eligible situation, carrying away with them all the tattle they can pick up, and some left-off suit of finery. The same proneness to adulation which made them lick the dust before one idol, makes them bow as low to the rising Sun; they are as lavish of detraction as they were prurient with praise; and the protegé and admirer of the editor of the figures in Blackwood's train. The man is a lacquey, and it is of little consequence whose livery he wears! I would advise those who volunteer the office of puffing, to go the whole length of it. No half-measures will do. Lay it on thick and three-fold, or not at all. If you are once harnessed into that vehicle, it will be in vain for you to think of stopping. You must drive to the devil at once. The mighty Tamburlane, to whose car you are yoked, cries out "Halloa, you pamper'd jades of Asia, Can you not drive but twenty miles a day?" He has you on the hip, for you have pledged your taste and judgment to his genius. Never fear but he will drive this wedge. If you are once screwed into such a machine, you must extricate yourself by main force. No hyperboles are too much: any drawback, any admiration on this side idolatry, is high treason. It is an unpardonable offence to say that the last production of your patron is not so good as the one before it; or that a performer shines more in one character than another. I remember once hearing a player declare that he never looked into any newspapers or magazines on account of the abuse that was always levelled at himself in them, though there were not less than three persons in company, who made it their business through these conduit-pipes of fame to "cry him up to the top of the compass." This sort of expectation is a little exigéante! One fashionable mode of acquiring reputation is by patronising it. This may be from various motives, real good nature, good taste, vanity, or pride. I shall only speak of the spurious ones in this place. The quack and the would-be patron are well met. The house of the latter is a sort of curiosity shop or menagerie, where all sorts of intellectual pretenders and grotesques, musical children, arithmetical prodigies, occult philosophers, lecturers, accoucheurs, apes, chemists, fiddlers, and buffoons are to be seen for the asking, and are shown to the company for nothing. The folding-doors are thrown open, and display a collection that the world cannot parallel again. There may be a few persons of common sense and established reputation, rari nantes in gurgite vasto, otherwise it is a mere scramble or lottery. The professed encourager of virtù and letters, being disappointed of the great names, sends out into the highways for the halt, the lame, and the blind, for all who pretend to distinction, defects, and obliquities, for all the disposable vanity or affectation floating on the town, in hopes that, among so many oddities, chance may bring some jewel or treasure to his door, which he may have the good fortune to appropriate in some way to his own use, or the credit of displaying to others. The art is to encourage rising geniusto bring forward doubtful and unnoticed merit. You thus get a set of novices and raw pretenders about you, whose actual productions do not interfere with your self-love, and whose future efforts may reflect credit on your singular sagacity and faculty for finding out talent in the germ; and in the next place, by having them completely in your power, you are at liberty to dismiss them whenever you will, and to supply the deficiency by a new set of wondering, unwashed faces, in a rapid succession; an "aiery of children," embryo actors, artists, poets, or philosophers. Like unfledged birds they are hatched, nursed, and fed by hand; this gives room for a vast deal of management, meddling, care, and condescending solicitude, but the instant the callow brood are fledged, they are driven from the nest, and forced to shift for themselves in the wide world. One sterling production decides the question between them and their patrons, and from that time they become the property of the public. Thus a succession of importunate, hungry, idle, over-weening candidates for fame, are encouraged by these fickle keepers, only to be betrayed, and left to starve or beg, or pine in obscurity, while the man of merit and respectability is neglected, discountenanced, and stigmatized, because he will not lend himself as a tool to this system of splendid imposition, or pamper the luxury and weaknesses of the Vulgar Great. When a young artist is too independent to subscribe to the dogmas of his superiors, or fulfils their predictions and prognostics of wonderful contingent talent too soon, so as to get out of leading strings, and lean on public opinion for partial support, exceptions are taken to his dress, dialect, or manners, and he is expelled the circle with a character for ingratitude and treachery. None can procure toleration long but those who do not contradict the opinions, or excite the jealousy of their betters. One independent step is an appeal from them to the public, their natural and hated rivals, and annuls the contract between them, which implies ostentatious countenance on the one part, and servile submission on the other. But enough of this. The patronage of men of talent, even when it proceeds from vanity, is often carried on with a spirit of generosity and magnificence, as long as these are in difficulties and a state of dependence: but as the principle of action in this case is a love of power, the complacency in the object of friendly regard ceases : with the opportunity or necessity for the same manifest display of power; and when the unfortunate protegé is just coming to land, and expects a last helping hand, he is, to his surprise, pushed back, in order that he may be saved from drowning once more. You are not hauled ashore, as you had supposed, by these kind friends, as a mutual triumph after all your struggles and their exertions in your behalf. It is a piece of presumption in you to be seen walking on terra-firma: you are required, at the risk of their friendship, to be always swimming in troubled waters, that they may have the credit of throwing out ropes, and sending out life-boats to you, without ever bringing you ashore. Your successes, your reputation, which you would think would please them, as justifying their good opinion, are coldly received and looked at askance, because they remove your dependence on them if you are under a cloud, they do all they can to keep you there by their good-will; they are so sensible of your gratitude that they wish your obligations never to cease, and take care you shall owe no one else a good turn; and provided you are compelled or contented to remain always in poverty, obscurity, and disgrace, they will continue your very good friends and humble servants to command, to the end of the chapter. The tenure of these indentures is hard. Such persons will wilfully forfeit the gratitude created by years of friendship, by refusing to perform the last act of kindness that is likely ever to be demanded of them; will lend you money, if you have no chance of repaying them; will give you their good word, if nobody will believe it; and the only thing they do not forgive is an attempt or probability on your part, of being able to repay your obligations. There is something disinterested in all this: at least, it does not show a cowardly or mercenary disposition, but it savors too much of arrogance and arbitrary pretension. It throws a damning light on this question to consider who are mostly the subjects of the patronage of the great, and in the habit of receiving cards of invitation to splendid dinners. I confess, for one, I am not on the list; at which I do not grieve much, nor wonder at all. Authors, in general, are not in much request. Dr. Johnson was asked why he was not more frequently invited; and he said, "Because great lords and ladies do not like to have their mouths stopped." Garrick was not in this predicament: he could amuse the company in the drawing-room by imitating the great moralist and lexicographer, and make the negro boy, in the court-yard, die with laughing to see him take off the swelling airs and strut of the turkey-cock. This was clever and amusing, but it did not involve an opinion, it did not lead to a difference of sentiment, in which the owner of the house might be found in the wrong. Players, singers, dancers, are hand and glove with the great. They embellish, and have an éclat in their names, but do not come into collision. Eminent portrait painters, again, are tolerated, because they come into personal contact with the great: and sculptors hold equality with lords when they have a certain quantity of solid marble in their workshops to answer for the solidity of their pretensions. People of fashion and property must have something to show for their patronage, something visible or tangible. A sentiment is a visionary thing; an argument may lead to dangerous consequences, and those who are likely to broach either one or the other, are not, therefore, fit for good company in general. Poets, and men of genius, who find their way there, soon find their way out. They are not of that ilk, with some exceptions. Painters who come in contact with majesty get on by servility or buffoonery, by letting themselves down in some way. Sir Joshua was never a favorite at court. He kept too much at a distance. Beechey gained a vast deal of favor by familiarity, and lost it by taking too great freedoms.* West ingratiated himself in the same quarter by means of practices as little creditable to himself as his august employer, namely, by playing the hypocrite, and professing sentiments the reverse of those he naturally felt. Kings (I know not how justly) have been said to be lovers of low company, and low conversation. They are Sharp became a great favorite of the king on the following occasion. It was the custom, when the king went through the lobbies of the palace, for those who preceded him to cry out, "Sharp, sharp, look sharp." Mr. Sharp, who was waiting in a room just by (preparing some colors), hearing his name repeated so urgently, ran out in great haste, and came up with all his force against the king, who was passing the door at the time. The young artist was knocked down in the encounter, and the attendants were in the greatest consternation; but the king laughed heartily at the adventure, and took great notice of the unfortunate subject of it from that time forward |