"On the Disadvantages of Intellectual Superiority" 1
The chief disadvantage of knowing more and seeing farther than others, is not to be generally understood. A man is, in consequence of this, liable to start paradoxes, which immediately transport him beyond the reach of the common-place reader. A person speaking once in a slighting manner of a very original-minded man, received for answer, 'He strides on so far before you that he dwindles in the distance!"
Petrarch complains that 'Nature had made him different from other people' -- singular' d' altri genti. The great happiness of life is, to be neither better nor worse than the general run of those you meet with. If you are beneath them, you are trampled upon; if you are above them, you soon find a mortifying level in their difference to what you particularly pique yourself upon. What is the use of being moral in a night-cellar, or wise in Bedlam? 'To be honest, as this world goes, is to be one man picked out of ten thousand.' So says Shakespear; and the commentators have not added that, under these circumstances, a man is more likely to become the butt of slander than the mark of admiration for being so. 'How now, thou particular fellow?'2 is the common answer to all such out-of-the-way pretensions. By not doing as those at Rome do, we cut ourselves off from good-fellowship and society. We speak another language, have notions of our own, and are treated as of a different species. Nothing can be more awkward than to intrude with any such far-fetched ideas among the common herd, who will be sure to
There is not a greater error than to suppose that you avoid the envy, malice, and uncharitableness, so common in the world, by going among people without pretensions. There are no people who have no pretensions; or the fewer their pretensions, the less they can afford to acknowledge yours without some sort of value received. The more information individuals possess, or the more they have refined upon any subject, the more readily can they conceive and admit the same kind of superiority to themselves that they feel over others. But from the low, dull, level sink of ignorance and vulgarity, no idea or love of excellence can arise. You think you are doing mighty well with them; that you are laying aside the buckram of pedantry and pretence, and getting the character of a plain, unassuming, good sort of fellow. It will not do. All the while that you are making these familiar advances, and wanting to be at your ease, they are trying to recover the wind of you. You may forget that you are an author, an artist, or what not -- they do not forget that they are nothing, nor bate one jot of their desire to prove you in the same predicament. They take hold of some circumstance in your dress; your manner of entering a room is different from that of other people; you do not eat vegetables -- that's odd; you have a particular phrase, which they repeat, and this becomes a sort of standing joke; you look grave, or ill; you talk, or are more silent than usual; you are in or out of pocket: all these petty, inconsiderable circumstances, in which you resemble, or are unlike other people, form so many counts in the indictment which is going on in their imaginations against you, and are so many contradictions in your character. In any one else they would pass unnoticed, but in a person of whom they had heard so much they cannot make them out at all. Meanwhile, those things in which you may really excel go for nothing, because they cannot judge of them. They speak highly of some book which you do not like, and therefore you make no answer. You recommend them to go and see some Picture in which they do not find much to admire. How are you to convince them that you are right? Can you make them perceive that the fault is in them, and not in the picture, unless you could give them your knowledge? They hardly distinguish the difference between a Correggio and a common daub. Does this bring you any nearer to an understanding? The more you know of the difference, the more deeply you feel it, or the more earnestly you wish to convey it, the farther do you find yourself removed to an immeasurable distance from the possibility of making them enter into views and feelings of which they have not even the first rudiments. You cannot make them see with your eyes, and they must judge for themselves.
Intellectual is not like bodily strength. You have no hold of the understanding of others but by their sympathy. Your knowing, in fact, so much more about a subject does not give you a superiority, that is, a power over them, but only renders it the more impossible for you to make the least impression on them. Is it, then, an advantage to you? It may be, as it relates to your own private satisfaction, but it places a greater gulf between you and society. It throws stumbling-blocks in your way at every turn. All that you take most pride and pleasure in is lost upon the vulgar eye. What they are pleased with is a matter of indifference or of distaste to you. In seeing a number of persons turn over a portfolio of prints from different masters, what a trial it is to the patience, how it jars the nerves to hear them fall into raptures at some common-place flimsy thing, and pass over some divine expression of countenance without notice, or with a remark that it is very singular-looking? How useless it is in such cases to fret or argue, or remonstrate? Is it not quite as well to be without all this hypercritical, fastidious knowledge, and to be pleased or displeased as it happens, or struck with the first fault or beauty that is pointed out by others? I would be glad almost to change my acquaintance with pictures, with books, and, certainly, what I know of mankind, for anybody's ignorance of them!
It is recorded in the life of some worthy (whose name I forget) that he was one of those 'who loved hospitality and respect': and I profess to belong to the same classification of mankind. Civility is with me a jewel. I like a little comfortable cheer, and careless, indolent chat, I hate to be always wise, or aiming at wisdom. I have enough to do with literary cabals, questions, critics, actors, essay-writing, without taking them out with me for recreation, and into all companies. I wish at these times to pass for a good-humoured fellow; and good-will is all I ask in return to make good company. I do not desire to be always posing myself or others with the questions of fate, free-will, foreknowledge absolute, etc. I must unbend sometimes. I must occasionally lie fallow. The kind of conversation that I affect most is what sort of a day it is, and whether it is likely to rain or hold up fine for to-morrow. This I consider as enjoying the otium cum dignitate, as the end and privilege of a life of study. I would resign myself to this state of easy indifference, but I find I cannot. I must maintain a certain pretension, which is far enough from my wish. I must he put on my defence, I must take up the gauntlet continually, or I find I lose ground. 'I am nothing, if not critical.' While I am thinking what o'clock it is, or how I came to blunder in quoting a well-known passage, as if I had done it on purpose, others are thinking whether I am not really as dull a fellow as I am sometimes said to be. If a drizzling shower patters against the windows, it puts me in mind of a mild spring rain, from which I retired twenty years ago, into a little public-house near Wem in Shropshire, and while I saw the plants and shrubs before the door imbibe the dewy moisture, quaffed a glass of sparkling ale, and walked home in the dusk of evening, brighter to me than noonday suns at present are! Would I indulge this feeling? In vain. They ask me what news there is, and stare if I say I don't know. If a new actress has come out, why must I have seen her? If a new novel has appeared, why must I have read it? I, at one time, used to go and take a hand at cribbage with a friend, and afterwards discuss a cold sirloin of beef, and throw out a few lackadaisical remarks, in a way to please myself, but it would not do long. I set up little pretension, and therefore the little that I did set up was taken from me. As I said nothing on that subject myself, it was continually thrown in my teeth that I was an author. From having me at this disadvantage, my friend wanted to peg on a hole or two in the game, and was displeased if I would not let him. If I won off him, it was hard he should be beat by an author. If he won, it would be strange if he did not understand the game better than I did. If I mentioned my favourite game of rackets, there was a general silence, as if this was my weak point. If I complained of being ill, it was asked why I made myself so. If I said such an actor had played a part well, the answer was, there was a different account in one of the newspapers. If any allusion was made to men of letters, there was a suppressed smile. If I told a humorous story, it was difficult to say whether the laugh was at me or at the narrative. The wife hated me for my ugly face; the servants, because I could not always get them tickets for the play, and because they could not tell exactly what an author meant. If a paragraph appeared against anything I had written, I found it was ready there before me, and I was to undergo a regular roasting. I submitted to all this till I was tired, and then I gave it up.
One of the miseries of intellectual pretensions is, that nine-tenths of those you come in contact with do not know whether you are an impostor or not. I dread that certain anonymous criticisms should get into the hands of servants where I go, or that my hatter or shoemaker should happen to read them, who cannot possibly tell whether they are well or ill founded. The ignorance of the world leaves one at the mercy of its malice. There are people whose good opinion or good-will you want, setting aside all literary pretensions; and it is hard to lose by an ill report (which you have no means of rectifying) what you cannot gain by a good one. After a diatribe in the Quarterly (which is taken in by a gentleman who occupies my old apartments on the first floor), my landlord brings me up his bill (of some standing), and on my offering to give him so much in money and a note of hand for the rest, shakes his head, and says he is afraid he could make no use of it. Soon after, the daughter comes in, and, on my mentioning the circumstance carelessly to her, replies gravely, 'that indeed her father has been almost ruined by bills.' This is the unkindest cut of all. It is in vain for me to endeavour to explain that the publication in which I am abused is a mere government engine -- an organ of a political faction. They know nothing about that. They only know such and such imputations are thrown out; and the more I try to remove them, the more they think there is some truth in them. Perhaps the people of the house are strong Tories -- government agents of some sort. Is it for me to enlighten their ignorance? If I say, I once wrote a thing called Prince Maurice's Parrot, and an Essay on the Regal Character, in the former of which allusion is made to a noble marquis, and in the latter to a great personage (so at least, I am told, it has been construed), and that Mr. Croker has peremptory instructions to retaliate, they cannot conceive what connection there can be between me and such distinguished characters. I can get no farther. Such is the misery of pretensions beyond your situation, and which are not backed by any external symbols of wealth or rank, intelligible to all mankind!
The impertinence of admiration is scarcely more tolerable than the demonstrations of contempt. I have known a person whom I had never seen before besiege me all dinner-time with asking what articles I had written in the Edinburgh Review? I was at last ashamed to answer to my splendid sins in that way. Others will pick out something not yours, and say they are sure no one else could write it. By the first sentence they can always tell your style. Now I hate my style to be known, as I hate all idiosyncrasy. These obsequious flatterers could not pay me a worse compliment. Then there are those who make a point of reading everything you write (which is fulsome); while others, more provoking, regularly lend your works to a friend as soon as they receive them. They pretty well know your notions on the different subjects, from having heard you talk about them. Besides, they have a greater value for your personal character than they have for your writings. You explain things better in a common way, when you are not aiming at effect. Others tell you of the faults they have heard found with your last book, and that they defend your style in general from a charge of obscurity. A friend once told me of a quarrel he had had with a near relation, who denied that I knew how to spell the commonest words. These are comfortable confidential communications to which authors who have their friends and excusers are subject. A gentleman told me that a lady had objected to my use of the word learneder as bad grammar. He said he thought it a pity that I did not take more care, but that the lady was perhaps prejudiced, as her husband held a government office. I looked for the word, and found it in a motto from Butler. I was piqued, and desired him to tell the fair critic that the fault was not in me, but in one who had far more wit, more learning, and loyalty than I could pretend to. Then, again, some will pick out the flattest thing of yours they can find to load it with panegyrics; and others tell you (by way of letting you see how high they rank your capacity) that your best passages are failures. Lamb has a knack of tasting (or as he would say, palating) the insipid. Leigh Hunt has a trick of turning away from the relishing morsels you put on his plate. There is no getting the start of some people. Do what you will, they can do it better; meet with what success you may, their own good opinion stands them in better stead, and runs before the applause of the world. I once showed a person of this overweening turn (with no small triumph, I confess) a letter of a very flattering description I had received from the celebrated Count Stendhal, dated Rome. He returned it with a smile of indifference, and said, he had had a letter from Rome himself the day before, from his friend S----! I did not think this 'germane to the matter.' Godwin pretends I never wrote anything worth a farthing but my 'Answers to Vetus,' and that I fail altogether when I attempt to write an essay, or anything in a short compass.
What can one do in such cases? Shall I confess a weakness? The only set-off I know to these rebuffs and mortifications is sometimes in an accidental notice or involuntary mark of distinction from a stranger. I feel the force of Horace's digito monstrari -- I like to be pointed out in the street, or to hear people ask in Mr. Powell's court, Which is Mr. Hazlitt? This is to me a pleasing extension of one's personal identity. Your name so repeated leaves an echo like music on the ear: it stirs the blood like the sound of a trumpet. It shows that other people are curious to see you; that they think of you, and feel an interest in you without your knowing it. This is a bolster to lean upon; a lining to your poor, shivering, threadbare opinion of yourself. You want some such cordial to exhausted spirits, and relief to the dreariness of abstract speculation. You are something; and, from occupying a place in the thoughts of others, think less contemptuously of yourself. You are the better able to run the gauntlet of prejudice and vulgar abuse. It is pleasant in this way to have your opinion quoted against yourself, and your own sayings repeated to you as good things. I was once talking to an intelligent man in the pit, and criticising Mr. Knight's performance of Filch. 'Ah!' he said, 'little Simmons was the fellow to play that character.' He added, 'There was a most excellent remark made upon his acting it in the Examiner (I think it was) -- That he looked as if he had the gallows in one eye and a pretty girl in the other.' I said nothing, but was in remarkably good humour the rest of the evening. I have seldom been in a company where fives-playing has been talked of but some one has asked in the course of it, 'Pray, did any one ever see an account of one Cavanagh that appeared some time back in most of the papers? Is it known who wrote it?' These are trying moments. I had a triumph over a person, whose name I will not mention, on the following occasion. I happened to be saying something about Burke, and was expressing my opinion of his talents in no measured terms, when this gentleman interrupted me by saying he thought, for his part, that Burke had been greatly overrated, and then added, in a careless way, 'Pray, did you read a character of him in the last number of the -----?' 'I wrote it!' -- I could not resist the antithesis, but was afterwards ashamed of my momentary petulance. Yet no one that I find ever spares me.
Some persons seek out and obtrude themselves on public characters in order, as it might seem, to pick out their failings, and afterwards betray them. Appearances are for it, but truth and a better knowledge of nature are against this interpretation of the matter. Sycophants and flatterers are undesignedly treacherous and fickle. They are prone to admire inordinately at first, and not finding a constant supply of food for this kind of sickly appetite, take a distaste to the object of their idolatry. To be even with themselves for their credulity, they sharpen their wits to spy out faults, and are delighted to find that this answers better than their first employment. It is a course of study, 'lively, audible, and full of vent.' They have the organ of wonder and the organ of fear in a prominent degree. The first requires new objects of admiration to satisfy its uneasy cravings: the second makes them crouch to power wherever its shifting standard appears, and willing to curry favour with all parties, and ready to betray any out of sheer weakness and servility. I do not think they mean any harm: at least, I can look at this obliquity with indifference in my own particular case. I have been more disposed to resent it as I have seen it practised upon others, where I have been better able to judge of the extent of the mischief, and the heartlessness and idiot folly it discovered.
I do not think great intellectual attainments are any recommendation to the women. They puzzle them, and are a diversion to the main question. If scholars talk to ladies of what they understand, their hearers are none the wiser: if they talk of other things, they prove themselves fools. The conversation between Angelica and Foresight in Love for Love is a receipt in full for all such overstrained nonsense: while he is wandering among the signs of the zodiac, she is standing a-tiptoe on the earth. It has been remarked that poets do not choose mistresses very wisely. I believe it is not choice, but necessity. If they could throw the handkerchief like the Grand Turk, I imagine we should see scarce mortals, but rather goddesses, surrounding their steps, and each exclaiming, with Lord Byron's own Ionian maid --
There is one mistake I would wish, if possible, to correct. Men of letters, artists, and others not succeeding with women in a certain rank of life, think the objection is to their want of fortune, and that they shall stand a better chance by descending lower, where only their good qualities or talents will be thought of. Oh! worse and worse. The objection is to themselves, not to their fortune -- to their abstraction, to their absence of mind, to their unintelligible and romantic notions. Women of education may have a glimpse of their meaning, may get a clue to their character, but to all others they are thick darkness. If the mistress smiles at their ideal advances, the maid will laugh outright; she will throw water over you, get her sister to listen, send her sweetheart to ask you what you mean, will set the village or the house upon your back; it will be a farce, a comedy, a standing jest for a year, and then the murder will out. Scholars should be sworn at Highgate. They are no match for chambermaids, or wenches at lodging-houses. They had better try their hands on heiresses or ladies of quality. These last have high notions of themselves that may fit some of your epithets! They are above mortality; so are your thoughts! But with low life, trick, ignorance, and cunning, you have nothing in common. Whoever you are, that think you can make a compromise or a conquest there by good nature or good sense, be warned b a friendly voice, and retreat in time from the unequal contest.
If, as I have said above, scholars are no match for chambermaids, on the other hand gentlemen are no match for blackguards. The former are on their honour, act on the square; the latter take all advantages, and have no idea of any other principle. It is astonishing how soon a fellow without education will learn to cheat. He is impervious to any ray of liberal knowledge; his understanding is
It is hardly necessary to add any illustration to prove that the most original and profound thinkers are not always the most successful or popular writers. This is not merely a temporary disadvantage; but many great philosophers have not only been scouted while they were living, but forgotten as soon as they were dead. The name of Hobbes is perhaps sufficient to explain this assertion. But I do not wish to go farther into this part of the subject, which is obvious in itself. I have said, I believe, enough to take off the air of paradox which hangs over the title of this Essay.
1 Hazlitt's "On the Disadvantages of Intellectual Superiority" is to be found in Table Talk, Essays on Men and Manners (1822).
2 [Original note.] Jack Cade's salutation to one who tries to recommend himself by saying he can write and read -- see Henry VI. Part Second.