ESSAY X. ON ENVY (A DIALOGUE) H. I HAD a theory about Envy at one time, which I have partly given up of late-which was, that there was no such feeling, or that what is usually considered as envy or dislike of real merit is, more properly speaking, jealousy of false pretensions to it. I used to illustrate the argument by saying, that this was the reason we were not envious of the dead, because their merit was established beyond the reach of cavil or contradiction; whereas we are jealous and uneasy at sudden and upstart popularity, which wants the seal of time to confirm it, and which after all may turn out to be false and hollow. There is no danger that the testimony of ages should be reversed, and we add our suffrages to it with confidence, and even with enthusiasm. But we doubt reasonably enough, whether that which was applauded yesterday may not be condemned to-morrow; and are afraid of setting our names to a fraudulent claim to distinction. However satisfied we may be in our own minds, we are not sufficiently borne out by general opinion and sympathy to prevent certain misgivings and scruples on the subject. No one thinks, for instance, of denying the merit of Teniers in his particular style of art, and no one consequently thinks of envying him. The merit of Wilkie, on the contrary, was at first strongly contested, and there were other painters set up in opposition to him, till now that he has become a sort of classic in his way, he has ceased to be an object of envy or dislike, because no one doubts his real excellence, as far as it goes. He has no more than justice done him, and the mind never revolts at justice. It only rejects false or superficial claims to admiration, and is incensed to see the world take up with appearances, when they have no solid foundation to support them. We are not envious of Rubens or Raphael, because their fame is a pledge of their genius: but if any one were to bring forward the highest living names as equal to these, it immediately sets the blood in a ferment, and we try to stifle the sense we have of their merits, not because they are new or modern, but because we are not sure they will ever be old. Could we be certain that posterity would sanction our award, we should grant it without scruple, even to an enemy and a rival. N. That which you describe is not envy. Envy is when you hate and would destroy all excellence that you do not yourself possess. So they say that Raphael, after he had copied the figures on one of the antique vases, endeavoured to deface them; and Hoppner, it has been said, used to get pictures of Sir Joshua's into his possession, on purpose to paint them over and spoil them. H. I do not believe the first, certainly. Raphael was too great a man, and with too fortunate a temper, to need or to wish to prop himself up on the ruins of others. As to Hoppner, he might perhaps think that there was no good reason for the preference given to Sir Joshua's portraits over his own, that his women of quality were the more airy and fashionable of the two, and might be tempted (once perhaps) in a fit of spleen, of caprice or impatience, to blot what was an eye-sore to himself from its oldfashioned, faded, dingy look, and at the same time dazzled others from the force of tradition and prejudice. Why, he might argue, should that old fellow run away with all the popularity even among those who (as he well knew) in their hearts preferred his own insipid, flaunting style |