of worthless or indifferent books would be turned away, and the name of the literary publisher would be a pledge for the value of every new book. Every literary man would choose his own favourite department, and we should learn from him as well as from his books. Against this project it may be urged, that literary men are ill adapted to attend to the regular details of trade, and that the great capitalists in the book-business have not been men of literature. But this plan is not suggested for accumulating a great fortune, or for the purpose of raising up a new class of tradesmen. It is not designed to make authors wealthy, for that would inevitably extinguish great literary exertion, but only to make them independent, as the best means to preserve exertion. The details of trade are not even to reach him. The poet GESNER, a bookseller, left his librairie to the care of his admirable wife. His own works, the elegant editions which issued from his press, and the value of manuscripts, were the objects of his attention. On the Continent many of the dealers in books have been literary men. At the memorable expulsion of the French Protestants on the edict of Nantes, their expatriated literary men flew to the shores of England, and the free provinces of Holland; and it was in Holland that this colony of littérateurs established magnificent printing-houses, and furnished Europe with editions of the native writers of France, often preferable to the originals, and even wrote the best works of that time. At that memorable period in our own history, when two thousand non-conformists were ejected on St. Bartholomew's day from the national establishment, the greater part were men of learning, who, deprived of their livings, were destitute of any means of existence. These scholars were compelled to look to some profitable occupation, and for the greater part they fixed on trades connected with literature; some became eminent booksellers, and continued to be voluminous writers, without finding their studies interrupted by their commercial arrangements. The details of trade must be left to others; the hand of a child can turn a vast machine, and the object here proposed would be lost, if authors sought to become merely booksellers. Whenever the public of Europe shall witness such a new order of men among their booksellers, they will have less to read, but more to remember. Their opinions will be less fluctuating, and their knowledge will come to them with more maturity. Men of letters will fly to the house of the bookseller who in that class of literature in which he deals, will himself be not the least eminent member. CHAPTER XVIII. The matrimonial state of literature.-Matrimony said not to be well suited to the domestic life of genius.-Celibacy a concealed cause of the early querulousness of men of genius. Of unhappy unions.-Not absolutely necessary that the wife should be a literary woman. Of the docility and susceptibility of the higher female character.- A picture of a literary wife. MATRIMONY has often been considered as a condition not well suited to the domestic life of genius, accompanied as it must be by many embarrassments for the head and the heart. It was an axiom with Fuessli, the Swiss artist, that the marriage state is incompatible with a high cultivation of the fine arts; and such appears to have been the feeling of most artists. When MICHAEL ANGELO was asked why he did not marry, he replied, "I have espoused my art; and it occasions me sufficient domestic cares, for my works shall be my children. What would Bartholomeo Ghiberti have been, had he not made the gates of St. John? His children consumed his fortune, but his gates, worthy to be the gates of Paradise, remain." The three Caraccis refused the conjugal bond on the same principle, dreading the interruptions of domestic life. Their crayons and paper were always on their dining-table. Careless of fortune, they determined never to hurry over their works in order that they might supply the ceaseless demands of a family. We discover the same principle operating in our own times. When a young painter, who had just married, told Sir Joshua that he was preparing to pursue his studies in Italy, that great painter exclaimed, "Married! then you are ruined as an artist! The same principle has influenced literary men. Sir THOMAS BODLEY had a smart altercation with his first librarian, insisting that he should not marry, maintaining its absurdity in the man who had the perpetual care of a public library; and Woodward left as one of the express conditions of his lecturer, that he was not to be a married man. They imagined that their private affairs would interfere with their public duties. PEIRESC, the great French collector, refused marriage, convinced that the cares of a family were too absorbing for the freedom necessary to literary pursuits, and claimed likewise a sacrifice of fortune incompatible with his great designs. BOYLE, who would not suffer his studies to be interrupted by "household affairs," lived as a boarder with his sister, Lady Ranelagh. Newton, Locke, Leibnitz, Bayle, and Hobbes, and Hume, and Gibbon, and Adam Smith, decided for celibacy. These great authors placed their happiness in their celebrity. This debate, for the present topic has sometimes warmed into one, is in truth ill adapted for controversy. The heart is more concerned in its issue than any espoused doctrine terminating in partial views. Look into the domestic annals of geniusobserve the variety of positions into which the literary character is thrown in the nuptial state. Cynicism will not always obtain a sullen triumph, nor prudence always be allowed to calculate away some of the richer feelings of our nature. It is not an axiom that literary characters must necessarily institute a new order of celibacy. The sentence of the apostle pronounces that "the forbidding to marry is a doctrine of devils." WESLEY, who published "Thoughts on a Single Life," advised some "to remain single for the kingdom of heaven's sake; but the precept," he adds, "is not for the many." So indecisive have been the opinions of the most curious inquirers concerning the matrimonial state, whenever a great destination has engaged their consideration. One position we may assume, that the studies, and even the happiness of the pursuits of men of genius, are powerfully influenced by the domestic associate of their lives. They rarely pass through the age of love without its passion. Even their Delias and their Amandas are often the shadows of some real object; for as Shakespeare's experience told him, "Never durst poet touch a pen to write, Until his ink were temper'd with love's sighs." Their imagination is perpetually colouring those pictures of domestic happiness on which they delight to dwell. He who is no husband sighs for that tenderness which is at once bestowed and received; and tears will start in the eyes of him who, in becoming a child among children, yet feels that he is no father! These deprivations have usually been the concealed cause of the querulous melancholy of the literary character. Such was the real occasion of SHENSTONE'S unhappiness. In early life he had been captivated by a young lady adapted to be both the muse and the wife of the poet, and their mutual sensibility lasted for some years. It lasted until she died. It was in parting from her that he first sketched his "Pastoral Ballad." SHENSTONE had the fortitude to refuse marriage. His spirit could not endure that she should participate in that life of self-privations to which he was doomed; but his heart was not locked up in the ice of celibacy, and his plaintive love-songs and elegies flowed from no fictitious source. "It is long since," says he, "I have considered myself as undone. The world will not perhaps consider me in that light entirely till I have married my maid." THOMSON met a reciprocal passion in his Amanda, while the full tenderness of his heart was ever wasting itself like waters in a desert. As we have been made little acquainted with this part of the history of the poet of the Seasons, 1 shall give his own description of those deep feelings from a manuscript letter written to Mallet. "To turn my eyes a softer way, to you know who-absence sighs it to me. What is-my heart made of? soft system of low nerves, too sensible for my quiet-capable of being very happy or very unhappy, I am afraid the last will prevail. Lay your hand upon a kindred heart, and despise me not. I know not what it is, but she dwells upon my thought in a mingled sentiment, which is the sweetest, the most intimately pleasing the soul can receive, and which I would wish never to want towards some dear object or another. To have always some secret darling idea to which one can still have recourse amidst the noise and nonsense of the world, and which never fails to touch us in the most exquisite manner, is an art of happiness that fortune cannot deprive us of. This may be called romantic; but whatever the cause is, the effect is really felt. Pray, when you write, tell me when you saw her, and with the pure eye of a friend, when you see her again, whisper that I am her most humble servant.” Even POPE was enamoured of a "scornful lady;" and, as Johnson observed, "polluted his will with female resentment." Johnson himself, we are told by one who knew him, "had always a metaphysical passion for one princess or other, the rustic Lucy Porter, or the haughty Molly Aston, or the sublimated methodistic Hill Boothby; and, lastly, the more charming Mrs. Thrale." Even in his advanced age, at the height of his celebrity, we hear his cries of lonely wretchedness. "I want every comfort; my life is very solitary and very cheerless. Let me know that I have yet a friend-let us be kind to one another." But the "kindness" of distant friends is like the polar sun-too far removed to warm us. Those who have eluded the individual tenderness of the female, are tortured by an aching void in their feelings. The stoic AKENSIDE, in his " Odes," has preserved the history of a life of genius in a series of his own feelings. One entitled, "At Study," closes with these memorable lines: : "Me though no peculiar fair Though the pride of my desire Or in social duty spent; Yet at the eve my lonely breast Seeks in vain for perfect rest, Languishes for true content." If ever a man of letters lived in a state of energy and excitement which might raise him above the atmosphere of social love, it was assuredly the enthusiast, THOMAS HOLLIS, who, solely devoted to literature and to republicanism, was occupied in furnishing Europe and America with editions of his favourite authors. He would not marry, lest marriage should interrupt the labours of his platonic politics. But his extraordinary memoirs, while they show an intrepid mind in a robust frame, bear witness to the self-tormentor who had trodden down the natural bonds of domestic life. Hence the deep "dejection of his spirits;" those incessant cries, that he has "no one to advise, assist, or cherish those magnanimous pursuits in him." At length he retreated into the country, in utter hopelessness. "I go not into the country for attentions to agriculture as such, nor attentions of interest of any kind, which I have ever despised as such; but as a used man, to pass the remainder of a life in tolerable sanity and quiet, after having given up the flower of it, voluntarily, day, week, month, year after year, successive to each other, to public service, and being no longer able to sustain, in body or mind, the labours that I have chosen to go through without falling speedily into the greatest disorders, and it might be imbecility itself. This is not colouring, but the exact plain truth." "Poor moralist, and what art thou? A solitary fly! Thy joys no glittering female meets, No hive hast thou of hoarded sweets." Assuredly it would not have been a question whether these literary characters should have married, had not MONTAIGNE, when a widower, declared that "he would not marry a second time, though it were wisdom itself;" but the airy Gascon has not disclosed how far Madame was concerned in this anathema. If the literary man unite himself to a woman whose taste and whose temper are adverse to his pursuits, he must courageously prepare for a martyrdom. Should a female mathematician be united to a poet, it is probable that she would be left amidst her abstractions, to demonstrate to herself how many a specious diagram fails when brought into its mechanical operation; or discovering the infinite varieties of a curve, she might take occasion to deduce her husband's versatility. If she become as jealous of his books as other wives might be of his mistresses, she may |