FullReads

“Upon leaving Eton in the summer of 1827, he accompanied his parents to the Continent, and passed eight months in Italy. This introduction to new scenes of nature and art, and to new sources of intellectual delight, at the very period of transition from boyhood to youth, sealed no doubt the peculiar character of his mind, and taught him, too soon for his peace, to sound those depths of thought and feeling, from which, after this time, all that he wrote was derived. He had, when he passed the Alps, only a moderate acquaintance with the Italian language; but during his residence in the country he came to speak it with perfect fluency, and with a pure Sienese pronunciation. In its study he was much assisted by his friend and instructor, the Abbate Pifferi, who encouraged him to his first attempts at versification. The few sonnets, which are now printed, were, it is to be remembered, written by a foreigner, hardly seventeen years old, and after a very short stay in Italy. The Editor might not, probably, have suffered them to appear, even in this private manner, upon his own judgment. But he knew that the greatest living writer of Italy, to whom they were shown some time since at Milan, by the author’s excellent friend, Mr. Richard Milnes, has expressed himself in terms of high approbation.

“The growing intimacy of Arthur with Italian poetry led him naturally to that of Dante. No poet was so congenial to the character of his own reflective mind; in none other could he so abundantly find that disdain of flowery redundance, that perpetual preference of the sensible to the ideal, that aspiration for somewhat better and less fleeting than earthly things, to which his inmost soul responded. Like all genuine worshippers of the great Florentine poet, he rated the Inferno below the two latter portions of the Divina Commedia; there was nothing even to revolt his taste, but rather much to attract it, in the scholastic theology and mystic visions of the Paradiso. Petrarch he greatly admired, though with less idolatry than Dante; and the sonnets here printed will show to all competent judges how fully he had imbibed the spirit, without servile centonism, of the best writers in that style of composition who flourished in the 16th century.

“But poetry was not an absorbing passion at this time in his mind. His eyes were fixed on the best pictures with silent intense delight. He had a deep and just perception of what was beautiful in this art, at least in its higher schools; for he did not pay much regard, or perhaps quite do justice, to the masters of the 17th century. To technical criticism he made no sort of pretension; painting was to him but the visible language of emotion; and where it did not aim at exciting it, or employed inadequate means, his admiration would be withheld. Hence he highly prized the ancient paintings, both Italian and German, of the age which preceded the full development of art. But he was almost as enthusiastic an admirer of the Venetian, as of the Tuscan and Roman schools; considering these masters as reaching the same end by the different agencies of form and color. This predilection for the sensitive beauties of painting is somewhat analogous to his fondness for harmony of verse, on which he laid more stress than poets so thoughtful are apt to do. In one of the last days of his life, he lingered long among the fine Venetian pictures of the Imperial Gallery at Vienna.

“He returned to England in June, 1828; and, in the following October, went down to reside at Cambridge; having been entered on the boards of Trinity College before his departure to the Continent. He was the pupil of the Rev. William Whewell. In some respects, as soon became manifest, he was not formed to obtain great academical reputation. An acquaintance with the learned languages, considerable at the school where he was educated, but not improved, to say the least, by the intermission of a year, during which his mind had been so occupied by other pursuits, that he had thought little of antiquity even in Rome itself, though abundantly sufficient for the gratification of taste and the acquisition of knowledge, was sure to prove inadequate to the searching scrutiny of modern examinations. He soon, therefore, saw reason to renounce all competition of this kind; nor did he ever so much as attempt any Greek or Latin composition during his stay at Cambridge. In truth he was very indifferent to success of this kind; and conscious as he must have been of a high reputation among his contemporaries, he could not think that he stood in need of any University distinctions. The Editor became by degrees almost equally indifferent to what he perceived to be so uncongenial to Arthur’s mind. It was however to be regretted, that he never paid the least attention to mathematical studies. That he should not prosecute them with the diligence usual at Cambridge, was of course to be expected; yet his clearness and acumen would certainly have enabled him to master the principles of geometrical reasoning; nor, in fact, did he so much find a difficulty in apprehending demonstrations, as a want of interest, and a consequent inability to retain them in his memory. A little more practice in the strict logic of geometry, a little more familiarity with the physical laws of the universe, and the phenomena to which they relate, would possibly have repressed the tendency to vague and mystical speculations which he was too fond of indulging. In the philosophy of the human mind, he was in no danger of the materializing theories of some ancient and modern schools; but in shunning this extreme, he might sometimes forget that, in the honest pursuit of truth, we can shut our eyes to no real phenomena, and that the physiology of man must always enter into any valid scheme of his psychology.