knows how difficult it is to excel, esteems and honours their excellence, and never fails to bestow upon it the full measure of applause which it deserves. His whole mind, in short, is deeply impressed, his whole behaviour and deportment are distinctly stamped with the character of real modesty; with that of a very moderate estimation of his own merit, and, at the same time, with a very full sense of the merit of other people.

In all the liberal and ingenious arts, in painting, in poetry, in music, in eloquence, in philosophy, the great artist feels always the real imperfection of his own best works, and is more sensible than any man how much they fall short of that ideal perfection of which he has formed some conception, which he imitates as well as he can, but which he despairs of ever equalling. It is the inferior artist only, who is ever perfectly satisfied with his own performances. He has little conception of this ideal perfection, about which he has little employed his thoughts; and it is chiefly to the works of other artists, of, perhaps, a still lower order, that he deigns to compare his own works. Boileau, the great French poet (in some of his works, perhaps not inferior to the greatest poet of the same kind, either ancient or modern), used to say, that no great man was ever completely satisfied with his own works. His acquaintance Santeuil (a writer of Latin verses, and who, on account of that schoolboy accomplishment, had the weakness to fancy himself a poet), assured him that he himself was always completely satisfied with his own. Boileau replied, with, perhaps, an arch ambiguity, that he certainly was the only great man that ever was so. Boileau, in judging of his own works, compared them with the standard of ideal perfection, which, in his own particular branch of the poetic art, he had, I presume, meditated as deeply, and conceived as distinctly, as it is possible for man to conceive it. Santeuil, in judging of his own works, compared them, I suppose, chiefly to those of the other Latin poets of his own time, to the great part of whom he was certainly very far from being inferior. But to support and finish off, if I may say so, the conduct and conversation of a whole life to some resemblance of this ideal perfection, is surely much more difficult than to work up to an equal resemblance any of the productions of any of the ingenious arts. The artist sits down to his work undisturbed, at leisure, in the full possession and recollection of all his skill, experience, and knowledge. The wise man must support the propriety of his own conduct in health and sickness, in success and in disappointment, in the hour of fatigue and drowsy indolence, as well as in that of the most awakened attention. The most sudden and unexpected assaults of difficulty and distress must never surprise him. The injustice of other people must never provoke him to injustice. The violence of faction must never confound him. All the hardships and hazards of war must never either dishearten or appal him.

Of the persons who, in estimating their own merit, in judging of their own character and conduct, direct by far the greater part of their attention to the second standard, to that ordinary degree of excellence which is commonly attained by other people, there are some who really and justly feel themselves very much above it, and who, by every intelligent and impartial spectator, are acknowledged to be so. The attention of such persons, however, being always principally directed, not to the standard of ideal, but to that of ordinary perfection, they have little sense of their own weaknesses and imperfections; they have little modesty; and are often assuming, arrogant, and presumptuous; great admirers of themselves, and great contemners of other people. Though their characters are in general much less correct, and their merit much inferior to that of the man of real and modest virtue; yet their excessive presumption, founded upon their own excessive self-admiration, dazzles the multitude, and often imposes even upon those who are much superior to the multitude. The frequent, and often wonderful, success of the most ignorant quacks and impostors, both civil and religious, sufficiently demonstrate how easily the multitude are imposed upon by the most extravagant and groundless pretensions. But when those pretensions are supported by a very high degree of real and solid merit, when they are displayed with all the splendour which ostentation can bestow upon them, when they are supported by high rank and great power, when they have often been successfully exerted, and are, upon that account, attended by the loud acclamations of the multitude; even the man of sober judgment often abandons himself to the general admiration. The very noise of those foolish acclamations often contributes to confound his understanding, and while he sees those great men only at a certain distance, he is often disposed to worship them with a sincere admiration, superior even to that with which they appear to worship themselves. When there is no envy in the case, we all take pleasure in admiring, and are, upon that account, naturally disposed, in our own fancies, to render complete and perfect in every respect the characters which, in many respects, are so very worthy of admiration. The excessive self-admiration of those great men is well understood, perhaps, and even seen through, with some degree of derision, by those wise men who are much in their familiarity, and who secretly smile at those lofty pretensions, which, by people at a distance, are often regarded with reverence, and almost with adoration. Such, however, have been, in all ages, the greater part of those men who have procured to themselves the most noisy fame, the most extensive reputation; a fame and reputation, too, which have too often descended to the remotest posterity.

Great success in the world, great authority

Вы читаете The Theory of Moral Sentiments
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