I have been speaking of the authors of a literature, in their relation to the people and course of events to which they belong; but a prior consideration, at which I have already glanced, is their connection with the language itself, which has been their organ. If they are in great measure the creatures of their times, they are on the other hand in a far higher sense the creators of their language. It is indeed commonly called their mother tongue, but virtually it did not exist till they gave it life and form. All greater matters are carried on and perfected by a succession of individual minds; what is true in the history of thought and of action is true of language also. Certain masters of composition, as Shakespeare, Milton, and Pope, the writers of the Protestant Bible and Prayer Book, Hooker and Addison, Swift, Hume, and Goldsmith, have been the making of the English language; and as that language is a fact, so is the literature a fact, by which it is formed, and in which it lives. Men of great ability have taken it in hand, each in his own day, and have done for it what the master of a gymnasium does for the bodily frame. They have formed its limbs, and developed its strength; they have endowed it with vigour, exercised it in suppleness and dexterity, and taught it grace. They have made it rich, harmonious, various, and precise. They have furnished it with a variety of styles, which from their individuality may almost be called dialects, and are monuments both of the powers of the language and the genius of its cultivators.
How real a creation, how _sui generis_, is the style of Shakespeare, or of the Protestant Bible and Prayer Book, or of Swift, or of Pope, or of Gibbon, or of Johnson! Even were the subject-matter without meaning, though in truth the style cannot really be abstracted from the sense, still the style would, on that supposition, remain as perfect and original a work as Euclid’s elements or a symphony of Beethoven. And, like music, it has seized upon the public mind; and the literature of England is no longer a mere letter, printed in books, and shut up in libraries, but it is a living voice, which has gone forth in its expressions and its sentiments into the world of men, which daily thrills upon our ears and syllables our thoughts, which speaks to us through our correspondents, and dictates when we put pen to paper. Whether we will or no, the phraseology and diction of Shakespeare, of the Protestant formularies, of Milton, of Pope, of Johnson’s Tabletalk, and of Walter Scott, have become a portion of the vernacular tongue, the household words, of which perhaps we little guess the origin, and the very idioms of our familiar conversation. The man in the comedy spoke prose without knowing it; and we Catholics, without consciousness and without offence, are ever repeating the half sentences of dissolute playwrights and heretical partizans and preachers. So tyrannous is the literature of a nation; it is too much for us. We cannot destroy or reverse it; we may confront and encounter it, but we cannot make it over again. It is a great work of man, when it is no work of God’s.