Des coupables humains, célèbre, Ame immortelle, l’heureuse délivrance,Que sur terre envoyé le Messie accomplit dans son humanité:Dis comment il rendit les fils du premier homme à leur Auteur céleste;Souffrant et mis à mort, enfin glorifié. Ainsi s’exécutaLe décret éternel. En vain Satan rebelle opposa son audaceA ce Fils du Très-Haut; et Judas vainement s’éleva contre lui:Réconciliateur et Rédempteur suprême, il consomma son œuvre.Mais quoi, noble action! que Dieu seul en son cœur miséricordieux,Connaît, la Poésie, en son exil terrestre, pourra-t-elle te suivre?Non, Esprit créateur, c’est à toi, devant qui je m’incline en tremblant,A rapprocher de moi cette action divine, à toi-même semblable.Viens donc, conduis-la-moi dans l’état immortel de toute sa beauté;Remplis-la de ton feu, toi que, sondant l’abîme du Très-Haut, peux de l’hommeIssu de la poussière, et fragile et mortel, te faire un temple saint.My Soul, degenerate man’s redemption sing,Which the Messiah in his human stateOn earth accomplished, by which, suffering slainAnd glorify’d, unto the Love of GodThe progeny of Adam he restored.Such was the everlasting Will divine,Th’ infernal Fiend opposed him, Judah stoodIn opposition proud; but vain their rage:He did the deed, he wrought out man’s salvation.Yet, wondrous Deed, which th’ all-compassionateJehovah alone completely comprehends,May Poesy presume from her remoteObscurity to venture on thy theme?Creative Spirit, in whose presence hereI humbly’ adore, her efforts consecrate,Conduct her steps and lead her, me to meet,Of transport full, with glorious charms endow’dAnd power immortal, imitating Thee.(Egestorff.)Sing, unserterbliche Seele, der sündigen Menschen Erlösung,Die der Messias auf Erden, in seiner Menscheit vollendet;Und durch die er Adams Geschlecht zu der Liebe der Gottheit,Leidend, getödtet und verherlichet, weider erhöhet hat.Also geschah des Ewigen Wille. Vergebens erhub sichSatan gegen der göttlichen Sohn; umsonst stand JudaGegen ihn auf; er that’s, und wollbrachte die grosse Versöhnung.Aber, o That, die allein der Albarmherzige kennet,Darf aus dunckler Ferne sich auch dir nahen die Dichtkunst?Weihe sie, Geist, Schöpfer, vor dem ich hier still anbete,Führe sie mir, als deine Nachahmerin, voiler Entzückung,Voll unsterblicher Kraft, in verklärter Schönheit, entgegen.Rüste mit deinem Feuer sie, du, der die Tiefen des GottheitSchaut und den Menschen, aus Staube gemacht, zum Tempel sich heiligt!It is evident that in this exposition the movement of Homer has been united by Klopstock to the ideas of Tasso. The German poet claims nevertheless the originality, and believes that he himself was called to enjoy the first inspiration. In order that this high aspiration might have been realized, a mass of learning very difficult to find would have been necessary. I will explain briefly this idea. I believe that the one who, disdaining to follow in the footsteps of Homer or of Vergil, would wish to open another road to epopœia, should be well acquainted with the ground over which he ventures to trace it, and the goal toward which he aspires to conduct it; I think he should make himself master of his subject so that nothing might remain obscure or unknown to him; so that if he should choose either the downfall of Man, as Milton, or his rehabilitation, after the example of Klopstock, he would be able to acquaint himself with the inner meaning of these mysteries, to explain all the conditions, to comprehend the beginning and the end, and, raising himself to the intellectual nature where they had birth, to spread light upon physical nature. This is the first attainment that I deem indispensable to the epic poet; I say that he should understand what he would sing. Homer knew what Ilium was, what Ithaca was; he could explain to himself the nature of Achilles and Helen, of Penelope and Ulysses; consequently he could depict them. I do not wish to investigate here whether Milton has understood in the same manner the beginning of the World and the nature of Satan; nor whether Klopstock has well understood the mystery of the incarnation of the Messiah. I only say that if they have not understood these things, they cannot sing them in a manner really epic.A defect which is common to these two poets, and which is even noticeable in theJerusalem Deliveredof Tasso, is, that everything which does not pertain to the part of the celebrated hero, is by its impure, unfaithful, impious nature, governed by the Principle of evil, and as such consigned to eternal damnation. An insurmountable barrier separates the personages and makes them not alone enemies, but opposed, as much as good and evil, light and darkness. However, the passions act unknown even to the poet; the reader is hurried along, he forgets the fatal line of demarcation, and is deceived into becoming interested in Satan, into finding great, beautiful, and terrible, this enemy of mankind; he trusts in Armida, he is moved by her troubles, and seconds with his vows those of a notorious magician, instrument of the Infernal Spirit. Matters go not thus with Homer. The Greeks see in the Trojans, enemies, and not reprobates. Paris is culpable but not impious. Hector is a hero in whom one can be interested without shame, and the interest that one devotes to him reflects upon Achilles and can even be increased. The gods are divided; but Venus and Juno, Minerva and Mars, Vulcan and Neptune are of a like nature; and although divided in the epic action, they are none the less venerated by both parties, equal among each other and all equally subject to Jupiter, who excites or checks their resentment. I know not whether any one has already made this observation; but be that as it may, it is very important. One can attain to the sublimity of epopœia only if like Homer one knows how to oppose the Powers which serve the hero with the Powers which persecute him. For if everything which serves the hero is good, holy, and sacred, and everything which is harmful to him wicked, impious, and reprobate, I do not see the glory of his triumph.The principal defect in Milton’s poem is that his hero succumbs, although he has to combat only the evil things within himself, whilst everything which is good protects him: the poem of Klopstock does not hold the reader’s interest, because the perils of his hero are illusory and as soon as he is represented as God, and when he himself knows his divinity, his downfall is absolutely impossible.But it is too much to dwell upon points of criticism which do not belong to my subject. I have touched upon them only slightly so that you may feel,Messieurs, notwithstanding the pretensions of three rival peoples, that the epic career remains none the less wholly open to the French nation. Some out-of-the-way paths have been traced here and there; but no poet since Vergil, has left the imprint of his steps upon the true path. The moment is perhaps at hand for gathering the palms that time has ripened. Must this century, great in prodigies, remain without an impassioned and enchanting voice to sing of them? Assuredly not. Whoever may be the poet whose genius raises itself to this noble task, I have wished from afar to lend him my feeble support; for I have often enough repeated, that talent alone will aspire to this in vain. Epopœia will only be the portion of the one who thoroughly understands the essence of poetry and who is able to apply to it a proper form. I have penetrated this essence as far as has been possible for me, and I have revealed my ideas,Messieurs, as clearly as the insufficiency of my means has permitted. I trust that their development may have appeared satisfactory and useful to you; I trust equally that the new form which I offer you merits your attention. I have applied it before you, to ideas, to intentions and to very different harmonies: it adapts itself here, for of itself it is nothing. Subject wholly to poetic essence, it receives therefrom all its lustre. If the ideas that it would render have grandeur and sublimity, it will easily become grand and sublime; but nothing would be poorer and more void, than that it should serve trivial thoughts or that it should conceal an absolute want of ideas. Do not imagine,Messieurs, that the absence of rhyme makes easy the French verse; it is precisely this absence which makes the great difficulty: for there is not then the means of writing without thinking. One can, with the aid of talent and practice, compose pleasing rhymed verse, without a great expenditure of ideas; the enormous quantity that is made today proves that it is not very difficult. The elegance of form supplies the sterility of substance. But this form becomes at last worn out; the rhymes are not inexhaustible; one word attracts another, forces it to unite with it, making understood the sounds that one has heard a thousand times, repeating the pictures which are everywhere; one repeats unceasingly the same things: the enjambment which gives so much grace to the Greek and Latin verse and without which real epic impulse cannot exist, is opposed to the rhyme and destroys it. You can see,Messieurs, that it constitutes one of the principal qualities of eumolpique verse; nothing here constrains the enthusiasm of the poet.After some impassioned verses that I have believed necessary for you to hear, I shall now pass on to verses, philosophical and devoid of passion, which form the subject of this writing and to which I desire above all to call your attention.
Des coupables humains, célèbre, Ame immortelle, l’heureuse délivrance,Que sur terre envoyé le Messie accomplit dans son humanité:Dis comment il rendit les fils du premier homme à leur Auteur céleste;Souffrant et mis à mort, enfin glorifié. Ainsi s’exécutaLe décret éternel. En vain Satan rebelle opposa son audaceA ce Fils du Très-Haut; et Judas vainement s’éleva contre lui:Réconciliateur et Rédempteur suprême, il consomma son œuvre.Mais quoi, noble action! que Dieu seul en son cœur miséricordieux,Connaît, la Poésie, en son exil terrestre, pourra-t-elle te suivre?Non, Esprit créateur, c’est à toi, devant qui je m’incline en tremblant,A rapprocher de moi cette action divine, à toi-même semblable.Viens donc, conduis-la-moi dans l’état immortel de toute sa beauté;Remplis-la de ton feu, toi que, sondant l’abîme du Très-Haut, peux de l’hommeIssu de la poussière, et fragile et mortel, te faire un temple saint.
Des coupables humains, célèbre, Ame immortelle, l’heureuse délivrance,Que sur terre envoyé le Messie accomplit dans son humanité:Dis comment il rendit les fils du premier homme à leur Auteur céleste;Souffrant et mis à mort, enfin glorifié. Ainsi s’exécutaLe décret éternel. En vain Satan rebelle opposa son audaceA ce Fils du Très-Haut; et Judas vainement s’éleva contre lui:Réconciliateur et Rédempteur suprême, il consomma son œuvre.Mais quoi, noble action! que Dieu seul en son cœur miséricordieux,Connaît, la Poésie, en son exil terrestre, pourra-t-elle te suivre?Non, Esprit créateur, c’est à toi, devant qui je m’incline en tremblant,A rapprocher de moi cette action divine, à toi-même semblable.Viens donc, conduis-la-moi dans l’état immortel de toute sa beauté;Remplis-la de ton feu, toi que, sondant l’abîme du Très-Haut, peux de l’hommeIssu de la poussière, et fragile et mortel, te faire un temple saint.
Des coupables humains, célèbre, Ame immortelle, l’heureuse délivrance,
Que sur terre envoyé le Messie accomplit dans son humanité:
Dis comment il rendit les fils du premier homme à leur Auteur céleste;
Souffrant et mis à mort, enfin glorifié. Ainsi s’exécuta
Le décret éternel. En vain Satan rebelle opposa son audace
A ce Fils du Très-Haut; et Judas vainement s’éleva contre lui:
Réconciliateur et Rédempteur suprême, il consomma son œuvre.
Mais quoi, noble action! que Dieu seul en son cœur miséricordieux,
Connaît, la Poésie, en son exil terrestre, pourra-t-elle te suivre?
Non, Esprit créateur, c’est à toi, devant qui je m’incline en tremblant,
A rapprocher de moi cette action divine, à toi-même semblable.
Viens donc, conduis-la-moi dans l’état immortel de toute sa beauté;
Remplis-la de ton feu, toi que, sondant l’abîme du Très-Haut, peux de l’homme
Issu de la poussière, et fragile et mortel, te faire un temple saint.
My Soul, degenerate man’s redemption sing,Which the Messiah in his human stateOn earth accomplished, by which, suffering slainAnd glorify’d, unto the Love of GodThe progeny of Adam he restored.Such was the everlasting Will divine,Th’ infernal Fiend opposed him, Judah stoodIn opposition proud; but vain their rage:He did the deed, he wrought out man’s salvation.Yet, wondrous Deed, which th’ all-compassionateJehovah alone completely comprehends,May Poesy presume from her remoteObscurity to venture on thy theme?Creative Spirit, in whose presence hereI humbly’ adore, her efforts consecrate,Conduct her steps and lead her, me to meet,Of transport full, with glorious charms endow’dAnd power immortal, imitating Thee.(Egestorff.)
My Soul, degenerate man’s redemption sing,Which the Messiah in his human stateOn earth accomplished, by which, suffering slainAnd glorify’d, unto the Love of GodThe progeny of Adam he restored.Such was the everlasting Will divine,Th’ infernal Fiend opposed him, Judah stoodIn opposition proud; but vain their rage:He did the deed, he wrought out man’s salvation.Yet, wondrous Deed, which th’ all-compassionateJehovah alone completely comprehends,May Poesy presume from her remoteObscurity to venture on thy theme?Creative Spirit, in whose presence hereI humbly’ adore, her efforts consecrate,Conduct her steps and lead her, me to meet,Of transport full, with glorious charms endow’dAnd power immortal, imitating Thee.(Egestorff.)
My Soul, degenerate man’s redemption sing,
Which the Messiah in his human state
On earth accomplished, by which, suffering slain
And glorify’d, unto the Love of God
The progeny of Adam he restored.
Such was the everlasting Will divine,
Th’ infernal Fiend opposed him, Judah stood
In opposition proud; but vain their rage:
He did the deed, he wrought out man’s salvation.
Yet, wondrous Deed, which th’ all-compassionate
Jehovah alone completely comprehends,
May Poesy presume from her remote
Obscurity to venture on thy theme?
Creative Spirit, in whose presence here
I humbly’ adore, her efforts consecrate,
Conduct her steps and lead her, me to meet,
Of transport full, with glorious charms endow’d
And power immortal, imitating Thee.
(Egestorff.)
Sing, unserterbliche Seele, der sündigen Menschen Erlösung,Die der Messias auf Erden, in seiner Menscheit vollendet;Und durch die er Adams Geschlecht zu der Liebe der Gottheit,Leidend, getödtet und verherlichet, weider erhöhet hat.Also geschah des Ewigen Wille. Vergebens erhub sichSatan gegen der göttlichen Sohn; umsonst stand JudaGegen ihn auf; er that’s, und wollbrachte die grosse Versöhnung.Aber, o That, die allein der Albarmherzige kennet,Darf aus dunckler Ferne sich auch dir nahen die Dichtkunst?Weihe sie, Geist, Schöpfer, vor dem ich hier still anbete,Führe sie mir, als deine Nachahmerin, voiler Entzückung,Voll unsterblicher Kraft, in verklärter Schönheit, entgegen.Rüste mit deinem Feuer sie, du, der die Tiefen des GottheitSchaut und den Menschen, aus Staube gemacht, zum Tempel sich heiligt!
Sing, unserterbliche Seele, der sündigen Menschen Erlösung,Die der Messias auf Erden, in seiner Menscheit vollendet;Und durch die er Adams Geschlecht zu der Liebe der Gottheit,Leidend, getödtet und verherlichet, weider erhöhet hat.Also geschah des Ewigen Wille. Vergebens erhub sichSatan gegen der göttlichen Sohn; umsonst stand JudaGegen ihn auf; er that’s, und wollbrachte die grosse Versöhnung.Aber, o That, die allein der Albarmherzige kennet,Darf aus dunckler Ferne sich auch dir nahen die Dichtkunst?Weihe sie, Geist, Schöpfer, vor dem ich hier still anbete,Führe sie mir, als deine Nachahmerin, voiler Entzückung,Voll unsterblicher Kraft, in verklärter Schönheit, entgegen.Rüste mit deinem Feuer sie, du, der die Tiefen des GottheitSchaut und den Menschen, aus Staube gemacht, zum Tempel sich heiligt!
Sing, unserterbliche Seele, der sündigen Menschen Erlösung,
Die der Messias auf Erden, in seiner Menscheit vollendet;
Und durch die er Adams Geschlecht zu der Liebe der Gottheit,
Leidend, getödtet und verherlichet, weider erhöhet hat.
Also geschah des Ewigen Wille. Vergebens erhub sich
Satan gegen der göttlichen Sohn; umsonst stand Juda
Gegen ihn auf; er that’s, und wollbrachte die grosse Versöhnung.
Aber, o That, die allein der Albarmherzige kennet,
Darf aus dunckler Ferne sich auch dir nahen die Dichtkunst?
Weihe sie, Geist, Schöpfer, vor dem ich hier still anbete,
Führe sie mir, als deine Nachahmerin, voiler Entzückung,
Voll unsterblicher Kraft, in verklärter Schönheit, entgegen.
Rüste mit deinem Feuer sie, du, der die Tiefen des Gottheit
Schaut und den Menschen, aus Staube gemacht, zum Tempel sich heiligt!
It is evident that in this exposition the movement of Homer has been united by Klopstock to the ideas of Tasso. The German poet claims nevertheless the originality, and believes that he himself was called to enjoy the first inspiration. In order that this high aspiration might have been realized, a mass of learning very difficult to find would have been necessary. I will explain briefly this idea. I believe that the one who, disdaining to follow in the footsteps of Homer or of Vergil, would wish to open another road to epopœia, should be well acquainted with the ground over which he ventures to trace it, and the goal toward which he aspires to conduct it; I think he should make himself master of his subject so that nothing might remain obscure or unknown to him; so that if he should choose either the downfall of Man, as Milton, or his rehabilitation, after the example of Klopstock, he would be able to acquaint himself with the inner meaning of these mysteries, to explain all the conditions, to comprehend the beginning and the end, and, raising himself to the intellectual nature where they had birth, to spread light upon physical nature. This is the first attainment that I deem indispensable to the epic poet; I say that he should understand what he would sing. Homer knew what Ilium was, what Ithaca was; he could explain to himself the nature of Achilles and Helen, of Penelope and Ulysses; consequently he could depict them. I do not wish to investigate here whether Milton has understood in the same manner the beginning of the World and the nature of Satan; nor whether Klopstock has well understood the mystery of the incarnation of the Messiah. I only say that if they have not understood these things, they cannot sing them in a manner really epic.
A defect which is common to these two poets, and which is even noticeable in theJerusalem Deliveredof Tasso, is, that everything which does not pertain to the part of the celebrated hero, is by its impure, unfaithful, impious nature, governed by the Principle of evil, and as such consigned to eternal damnation. An insurmountable barrier separates the personages and makes them not alone enemies, but opposed, as much as good and evil, light and darkness. However, the passions act unknown even to the poet; the reader is hurried along, he forgets the fatal line of demarcation, and is deceived into becoming interested in Satan, into finding great, beautiful, and terrible, this enemy of mankind; he trusts in Armida, he is moved by her troubles, and seconds with his vows those of a notorious magician, instrument of the Infernal Spirit. Matters go not thus with Homer. The Greeks see in the Trojans, enemies, and not reprobates. Paris is culpable but not impious. Hector is a hero in whom one can be interested without shame, and the interest that one devotes to him reflects upon Achilles and can even be increased. The gods are divided; but Venus and Juno, Minerva and Mars, Vulcan and Neptune are of a like nature; and although divided in the epic action, they are none the less venerated by both parties, equal among each other and all equally subject to Jupiter, who excites or checks their resentment. I know not whether any one has already made this observation; but be that as it may, it is very important. One can attain to the sublimity of epopœia only if like Homer one knows how to oppose the Powers which serve the hero with the Powers which persecute him. For if everything which serves the hero is good, holy, and sacred, and everything which is harmful to him wicked, impious, and reprobate, I do not see the glory of his triumph.
The principal defect in Milton’s poem is that his hero succumbs, although he has to combat only the evil things within himself, whilst everything which is good protects him: the poem of Klopstock does not hold the reader’s interest, because the perils of his hero are illusory and as soon as he is represented as God, and when he himself knows his divinity, his downfall is absolutely impossible.
But it is too much to dwell upon points of criticism which do not belong to my subject. I have touched upon them only slightly so that you may feel,Messieurs, notwithstanding the pretensions of three rival peoples, that the epic career remains none the less wholly open to the French nation. Some out-of-the-way paths have been traced here and there; but no poet since Vergil, has left the imprint of his steps upon the true path. The moment is perhaps at hand for gathering the palms that time has ripened. Must this century, great in prodigies, remain without an impassioned and enchanting voice to sing of them? Assuredly not. Whoever may be the poet whose genius raises itself to this noble task, I have wished from afar to lend him my feeble support; for I have often enough repeated, that talent alone will aspire to this in vain. Epopœia will only be the portion of the one who thoroughly understands the essence of poetry and who is able to apply to it a proper form. I have penetrated this essence as far as has been possible for me, and I have revealed my ideas,Messieurs, as clearly as the insufficiency of my means has permitted. I trust that their development may have appeared satisfactory and useful to you; I trust equally that the new form which I offer you merits your attention. I have applied it before you, to ideas, to intentions and to very different harmonies: it adapts itself here, for of itself it is nothing. Subject wholly to poetic essence, it receives therefrom all its lustre. If the ideas that it would render have grandeur and sublimity, it will easily become grand and sublime; but nothing would be poorer and more void, than that it should serve trivial thoughts or that it should conceal an absolute want of ideas. Do not imagine,Messieurs, that the absence of rhyme makes easy the French verse; it is precisely this absence which makes the great difficulty: for there is not then the means of writing without thinking. One can, with the aid of talent and practice, compose pleasing rhymed verse, without a great expenditure of ideas; the enormous quantity that is made today proves that it is not very difficult. The elegance of form supplies the sterility of substance. But this form becomes at last worn out; the rhymes are not inexhaustible; one word attracts another, forces it to unite with it, making understood the sounds that one has heard a thousand times, repeating the pictures which are everywhere; one repeats unceasingly the same things: the enjambment which gives so much grace to the Greek and Latin verse and without which real epic impulse cannot exist, is opposed to the rhyme and destroys it. You can see,Messieurs, that it constitutes one of the principal qualities of eumolpique verse; nothing here constrains the enthusiasm of the poet.
After some impassioned verses that I have believed necessary for you to hear, I shall now pass on to verses, philosophical and devoid of passion, which form the subject of this writing and to which I desire above all to call your attention.