Chapter 8

[1]All the biography, sometimes rather puerile, even rather silly, of Bishop Myriel.—Lamartine:Cours de Littérature(Entretien LXXXIV. p. 385).

An eminent man of our day, a celebrated historian a powerful orator, one of the former translators of Shakespeare, is mistaken, according to our views, when he regrets, or appears to regret, the slight influence of Shakespeare on the theatre of the nineteenth century. We cannot share that regret An influence of any sort, even that of Shakespeare, could but mar the originality of the literary movement of our epoch. "The system of Shakespeare," says the honourable and grave writer, with reference to that movement, "can furnish, it seems to me, the plans after which genius must henceforth work." We have never been of that opinion, and we have said so as far back as forty years ago.[1]For us, Shakespeare is a genius, and not a system. On this point we have already explained our views, and we mean soon to explain them at greater length; but let us state now that what Shakespeare has done, is done once for all,—it is impossible to do it over again. Admire or criticise, but do not recast. It is finished.

A distinguished critic who lately died,—M. Chaudesaigues,—lays a stress on this reproach: "Shakespeare," says he, "has been revived without being followed. The romantic school has not imitated Shakespeare. In that it is wrong." In that it is right. It is blamed for it; we praise it. The contemporary theatre is what it is, but it is itself. The contemporary theatre has for device,Sum non sequor.It belongs to no "system" It has its own law, and it accomplishes it. It has its own life, and it lives it.

The drama of Shakespeare expresses man at a given moment. Man passes away; that drama remains, having for eternal foundation, life, the heart, the world, and for surface the sixteenth century. That drama can neither be continued nor recomposed. Another age, another art.

The theatre of our day has not followed Shakespeare any more than it has followed Æschylus. And without reckoning all the other reasons that we shall note farther on, how perplexed would he be who wished to imitate and copy, in making a choice between these two poets! Æschylus and Shakespeare seem made to prove that contraries may be admirable. The point of departure of the one is absolutely opposite to the point of departure of the other. Æschylus is concentration; Shakespeare is diffusion. One must be much applauded because he is condensed, and the other because he is diffuse; to Æschylus unity, to Shakespeare ubiquity. Between them they divide God. And as such intellects are always complete, one feels in the condensed drama of Æschylus the free agitation of passion, and in the diffuse drama of Shakespeare the convergence of all the rays of life. The one starts from unity and reaches a multiple; the other starts from the multiple and arrives at unity.

This appears strikingly evident, particularly when we compare "Hamlet" with "Orestes,"—extraordinary double page, obverse and reverse of the same idea, and which seems written expressly to prove to what an extent two different geniuses, making the same thing, will make two different things.

It is easy to see that the theatre of our day has, rightly or wrongly, traced out its own way between Greek unity and Shakespearian ubiquity.

[1]Preface to "Cromwell."

Let us set aside for the present the question of contemporary art, and take up again the general question.

Imitation is always barren and bad.

As for Shakespeare,—since Shakespeare is the poet who claims our attention now,—he is, in the highest degree, a genius human and general; but like every true genius, he is at the same time an idiosyncratic and personal mind. Axiom: the poet starts from his own inner self to come to us. It is that which makes the poet inimitable.

Examine Shakespeare, dive into him, and see how determined he is to be himself. Do not expect any concession from him. It is not egotism, but it is stubbornness. He wills it. He gives to art his orders,—of course in the limits of his work; for neither the art of Æschylus, nor the art of Aristophanes, nor the art of Plautus, nor the art of Macchiavelli, nor the art of Calderon, nor the art of Molière, nor the art of Beaumarchais, nor any of the forms of art, deriving life each of them from the special life of a genius, would obey the orders given by Shakespeare. Art, thus understood, is vast equality and profound liberty; the region of the equals is also the region of the free.

One of the grandeurs of Shakespeare consists in his impossibility to be a model. In order to realize his idiosyncrasy, open one of his plays,—no matter which; it is always foremost and above all Shakespeare.

What more personal than "Troilus and Cressida"? A comic Troy! Here is "Much Ado about Nothing,"—a tragedy which ends with a burst of laughter. Here is the "Winter's Tale,"—a pastoral drama. Shakespeare is at home in his work. Do you wish to see true despotism: look at his fancy. What arbitrary determination to dream! What despotic resolution in his vertiginous flight! What absoluteness in his indecision and wavering! The dream fills some of his plays to that degree that man changes his nature, and is the cloud more than the man. Angelo in "Measure for Measure" is a misty tyrant. He becomes disintegrated, and wears away. Leontes in the "Winter's Tale" is an Othello who is blown away. In "Cymbeline" one thinks that Iachimo will become an Iago, but he melts down. The dream is there,—everywhere. Watch Manilius, Posthumus, Hermione, Perdita, passing by. In the "Tempest," the Duke of Milan has "a brave son," who is like a dream in a dream. Ferdinand alone speaks of him, and no one but Ferdinand seems to have seen him. A brute becomes reasonable: witness the constable Elbow in "Measure for Measure." An idiot is all at once witty: witness Cloten in "Cymbeline." A King of Sicily is jealous of a King of Bohemia. Bohemia has a seashore. The shepherds pick up children there. Theseus, a duke, espouses Hippolyta, the Amazon. Oberon comes in also. For here it is Shakespeare's will to dream; elsewhere he thinks.

We say more: where he dreams he still thinks,—with a different but equal depth.

Let men of genius remain in peace in their originality. There is something wild in these mysterious civilizers. Even in their comedy, even in their buffoonery, even in their laughter, even in their smile, there is the unknown. In them is felt the sacred dread that belongs to art, and the all-powerful terror of the imaginary mixed with the real. Each of them is in his cavern, alone. They hear one another from afar, but never copy one another. We are not aware that the hippopotamus imitates the roar of the elephant, neither do lions imitate one another.

Diderot does not recast Bayle; Beaumarchais does not copy Plautus, and has no need of Davus to create Figaro. Piranesi is not inspired by Dædalus. Isaiah does not begin Moses over again.

One day, at St. Helena, M. De Las Cases said, "Sire, when you were master of Prussia, I would in your place have taken the sword of Frederick the Great, which is deposited in the tomb at Potsdam; and I would have worn it." "Fool!" replied Napoleon, "I had my own."

Shakespeare's work is absolute, sovereign, imperious, eminently solitary, unneighbourly, sublime in radiance, absurd in reflection, and must remain without a copy.

To imitate Shakespeare would be as insane as to imitate Racine would be stupid.

Let us agree, by the way, respecting a qualificative much used everywhere:Profanum vulgus,—the saying of a poet on which pedants lay great stress. Thisprofanum vulgusis rather the weapon of everybody. Let us fix the meaning of this word. What is theprofanum vulgus?The school says, "It is the people." And we, we say, "It is the school."

But let us first define this expression, "the school." When we say, "the school," what must be understood? Let us explain it. The school is the resultant of pedantry; the school is the literary excrescence of the budget; the school is intellectual mandarinship governing in the various authorized and official teachings, either of the press or of the State, from the theatricalfeuilletonof the prefecture to the biographies and encyclopædias duly examined, stamped, and hawked about, and sometimes, as a refinement, made by republicans agreeable to the police; the school is the circumvallating classic and scholastic orthodoxy, the Homeric and Virgilian antiquity made use of byliteratilicensed by government,—a kind of China self-called Greece; the school is—summed up in one concretion which forms part of public order—all the knowledge of pedagogues, all the history of historiographers, all the poetry of laureates, all the philosophy of sophists, all the criticism of pedants, all the ferule of the "ignorantins," all the religion of bigots, all the modesty of prudes, all the metaphysics of those who change sides, all the justice of placemen, all the old age of the small young men who have undergone the operation, all the flattery of courtiers, all the diatribes of censer-bearers, all the independence of valets, all the certainty of short sights and of base souls. The school hates Shakespeare. It detects him in the very act of mingling with the people, going to and fro in public thoroughfares, "trivial," speaking the language of the people, uttering the human cry like any other man, welcome to those that he welcomes, applauded by hands black with tar, cheered by all the hoarse throats that proceed from labour and weariness. The drama of Shakespeare is the people; the school is indignant and says, "Odi profanum vulgus." There is demagogy in this poetry roaming at large; the author of "Hamlet" "panders to the mob."

Let it be so. The poet "panders to the mob."

If anything is great, it is that.

There in the foreground, everywhere, in full light, amidst the flourish of trumpets, are the powerful men followed by the gilded men. The poet does not see them, or, if he does, he disdains them. He lifts his eyes and looks at God; then he lowers his eyes and looks at the people. There in the depth of the shadow, nearly invisible, so much submerged that it is the night, is that fatal crowd, that vast and mournful heap of suffering, that venerable populace of the tattered and of the ignorant,—chaos of souls. That crowd of heads undulates obscurely like the waves of a nocturnal sea. From time to time there pass on that surface, like squalls over the water, catastrophes,—a war, a pestilence, a royal favourite, a famine. That causes a disturbance which lasts a short time, the depth of sorrow being immovable as the depth of the ocean. Despair deposits in us some weight as of lead. The last word of the abyss is stupor; therefore it is the night. It is, under the thick blackness, behind which all is indistinct, the mournful sea of the needy.

These overloaded beings are silent; they know nothing; they submitPlectuntur Achivi.They are hungry and cold. Their indecent flesh is seen through the holes in their tatters. Who makes those tatters? The purple. The nakedness of virgins comes from the nudity of odalisques. From the twisted rags of the daughters of the people fall pearls for the Fontanges and the Châteauroux. It is famine which gilds Versailles. The whole of that living and dying shadow moves; these larvæ are in the pangs of death; the mother's breast is dry; the father has no work; the brains have no light. If there is a book in that destitution, it resembles the pitcher, so insipid or corrupt is what it offers to the thirst of intellects. Mournful families!

The group of the little ones is wan. All die away and creep along, not having even the power to love; and unknown to them perhaps, while they crouch down and resign themselves, from all that vast unconsciousness in which Right dwells, from the rumbling murmur of those wretched breaths mingled together, proceeds an indescribable confused voice, mysterious mist of language, succeeding, syllable by syllable in the darkness, in uttering extraordinary words,—Future, Humanity, Liberty, Equality, Progress. And the poet listens, and he hears; and he looks, and he sees; and he bends lower and lower, and he weeps; and all at once, growing with a strange growth, drawing from all that darkness his own transfiguration, he stands erect, terrible and tender, above all those wretched ones,—those above as well as those below,—with flaming eyes.

And he demands a reckoning with a loud voice. And he says, Here is the effect! And he says, Here is the cause! Light is the remedy.Erudimini.And he looks like a great vase full of humanity shaken by the hand which is in the cloud, and from whence fall on the earth large drops,—fire for the oppressors, dew for the oppressed. Ah, you find fault with that, you fellows! Well, then, we approve of it, we do! We find it just that some one speaks when all suffer. The ignorant who enjoy and the ignorant who suffer have an equal want of teaching. The law of fraternity is derived from the law of labour. To kill one another has had its day. The hour has come to love one another. It is to promulgate these truths that the poet is good. For that, he must be of the people; for that he must be of the populace,—that is to say, that, bringing progress, he should not recoil before the pressure of facts, however ugly the facts may be. The distance between the real and the ideal cannot be measured otherwise. Besides, to drag the cannon-ball a little completes Vincent de Paul. Hurrah, then, for the trivial promiscuousness, for the popular metaphor, for the great life in common with those exiles from joy who are catted the poor!—this is the first duty of poets. It is useful; it is necessary, that the breath of the people should fill those all-powerful souls. The people have something to say to them. It is good that there should be in Euripides a flavour of the herb-dealers at Athens, and in Shakespeare of the sailors of London.

Sacrifice to "the mob," O poet! Sacrifice to that unfortunate, disinherited, vanquished, vagabond, shoeless, famished, repudiated, despairing mob; sacrifice to it, if it must be and when it must be, thy repose, thy fortune, thy joy, thy country, thy liberty, thy life. The mob is the human race in misery. The mob is the mournful commencement of the people. The mob is the great victim of darkness. Sacrifice to it! Sacrifice thyself! Let thyself be hunted, let thyself be exiled as Voltaire to Ferney, as D'Aubigné to Geneva, as Dante to Verona, as Juvenal to Syene, as Tacitus to Methymna, as Æschylus to Gela, as John to Patmos, as Elias to Horeb, as Thucydides to Thrace, as Isaiah to Esiongeber! Sacrifice to the mob. Sacrifice to it thy gold, and thy blood which is more than thy gold, and thy thought which is more than thy blood, and thy love which is more than thy thought; sacrifice to it everything except justice. Receive its complaint; listen to its faults, and to the faults of others. Listen to what it has to confess and to denounce to thee. Stretch forth to it the ear, the hand, the arm, the heart. Do everything for it, excepting evil. Alas! it suffers so much, and it knows nothing. Correct it, warm it, instruct it, guide it, bring it up. Put it to the school of honesty. Make it spell truth; show it that alphabet, reason; teach it to read virtue, probity, generosity, mercy. Hold thy book wide open. Be there, attentive, vigilant, kind, faithful, humble. Light up the brain, inflame the mind, extinguish egotism, show good example. The poor are privation: be abnegation. Teach! irradiate! They need thee; thou art their great thirst To learn is the first step; to live is but the second. Be at their order, dost thou hear? Be ever there, light! For it is beautiful, on this sombre earth, during this dark life, short passage to something else, it is beautiful that Force should have Right for a master, that Progress should have Courage as a chief, that Intelligence should have Honour as a sovereign, that Conscience should have Duty as a despot, that Civilization should have Liberty as a queen, that Ignorance should have a servant,—Light.

For the last eighty years memorable things have been done. A wonderful heap of demolished materials covers the pavement.

What is done is but little by the side of what remains to be done.

To destroy is the task: to build is the work. Progress demolishes with the left hand; it is with the right hand that it builds.

The left hand of Progress is called Force; the right hand is called Mind.

There is at this hour a great deal of useful destruction accomplished; all the old cumbersome civilization is, thanks to our fathers, cleared away. It is well, it is finished, it is thrown down, it is on the ground. Now, up with you all, intellects! to work, to labour, to fatigue, to duty; it is necessary to construct.

Here three questions: To construct what? To construct where? To construct how?

We reply: To construct the people. To construct the people according to the laws of progress. To construct the people according to the laws of light.

To work for the people,—that is the great and urgent necessity.

The human mind—an important thing to say at this minute—has a greater need of the ideal even than of the real.

It is by the real that we exist; it is by the ideal that we live. Now, do you wish to realize the difference? Animals exist, man lives.

To live, is to understand. To live, is to smile at the present, to look toward posterity over the wall. To live, is to have in one's self a balance, and to weigh in it the good and the evil. To live, is to have justice, truth, reason, devotion, probity, sincerity, common-sense, right, and duty nailed to the heart. To live, is to know what one is worth, what one can do and should do. Life is conscience. Cato would not rise before Ptolemy. Cato lived.

Literature is the secretion of civilization, poetry of the ideal. That is why literature is one of the wants of societies. That is why poetry is a hunger of the soul. That is why poets are the first instructors of the people. That is why Shakespeare must be translated in France. That is why Molière must be translated in England. That is why comments must be made on them. That is why there must be a vast public literary domain. That is why all poets, all philosophers, all thinkers, all the producers of the greatness of the mind must be translated, commented on, published, printed, reprinted, stereotyped, distributed, explained, recited, spread abroad, given to all, given cheaply, given at cost price, given for nothing.

Poetry evolves heroism. M. Royer-Collard, that original and ironical friend of routine, was, taken all in all, a wise and noble spirit Some one we know heard him say one day, "Spartacus is a poet."

That wonderful and consoling Ezekiel—the tragic revealer of progress—has all kinds of singular passages full of a profound meaning: "The voice said to me: Fill the palm of thy hand with red-hot coals, and spread them on the city." And elsewhere: "The spirit having gone into them, everywhere where the spirit went, they went" And again: "A hand was stretched towards me. It held a roll which was a book. The voice said to me: Eat this roll. I opened the lips and I ate the book. And it was sweet in my mouth as honey." To eat the book is a strange and striking image,—the whole formula of perfectibility, which above is knowledge, and below, teaching.

We have just said, "Literature is the secretion of civilization." Do you doubt it? Open the first statistics you come across.

Here is one which we find under our hand: Bagne de Toulon, 1862. Three thousand and ten prisoners. Of these three thousand and ten convicts, forty know a little more than to read and write, two hundred and eighty-seven know how to read and write, nine hundred and four read badly and write badly, seventeen hundred and seventy-nine know neither how to read nor write. In this wretched crowd all the merely mechanical trades are represented by numbers decreasing according as they rise toward the enlightened pursuits, and you arrive at this final result: goldsmiths and jewellers, four; ecclesiastics, three; lawyers, two; comedians, one; artist musicians, one; men of letters, not one.

The transformation of the crowd into the people,—profound labour! It is to this labour that the men called socialists have devoted themselves during the last forty years. The author of this book, however insignificant he may be, is one of the oldest in this labour; "Le Dernier Jour d'un Condamné" dates from 1828, and "Claude Gueux" from 1834. He claims his place among these philosophers because it is a place of persecution. A certain hatred of socialism, very blind, but very general, has been at work for fifteen or sixteen years, and is still at work most bitterly among the influential classes. (Classes, then, are still in existence?) Let it not be forgotten, socialism, true socialism, has for its end the elevation of the masses to the civic dignity, and therefore its principal care is for moral and intellectual cultivation. The first hunger is ignorance; socialism wishes then, above all, to instruct. That does not hinder socialism from being calumniated, and socialists from being denounced. To most of the infuriated, trembling cowards who have their say at the present moment, these reformers are public enemies. They are guilty of everything that has gone wrong. "O Romans!" said Tertullian, "we are just, kind, thinking, lettered, honest men. We meet to pray, and we love you because you are our brethren. We are gentle and peaceable like little children, and we wish for concord among men. Nevertheless, O Romans! if the Tiber overflows, or if the Nile does not, you cry, 'To the lions with the Christians!'"

The democratic idea, the new bridge of civilization, undergoes at this moment the formidable trial of overweight. Every other idea would certainly give way under the load that it is made to bear. Democracy proves its solidity by the absurdities that are heaped on, without shaking it. It must resist everything that people choose to place on it. At this moment they try to make it carry despotism.

The people have no need of liberty,—such was the pass-word of a certain innocent and duped school, the head of which has been dead some years. That poor honest dreamer believed in good faith that men can keep progress with them when they turn out liberty. We have heard him put forth, probably without meaning it, this aphorism: Liberty is good for the rich. These kinds of maxims have the disadvantage of not being prejudicial to the establishment of empires.

No, no, no! Nothing out of liberty.

Servitude is the blind soul. Can you figure to yourself a man blind voluntarily? This terrible thing exists. There are willing slaves. A smile in irons! Can anything be more hideous? He who is not free is not a man; he who is not free has no sight, no knowledge, no discernment, no growth, no comprehension, no will, no faith, no love; he has no wife, he has no children: he has a female and young ones; he lives not,—ab luce principium.Liberty is the apple of the eye. Liberty is the visual organ of progress.

Because liberty has inconveniences, and even perils, to wish to create civilization without it is just the same as to try cultivation without the sun; the sun is also a censurable heavenly body. One day, in the too beautiful summer of 1829, a critic, now forgotten,—and wrongly, for he was not without some talent,—M. P., suffering from the heat, sharpened his pen, saying, "I am going to excoriate the sun."

Certain social theories, very distinct from socialism such as we understand and want it, have gone astray. Let us discard all that resembles the convent, the barrack, the cell and the straight-line system. Paraguay, minus the Jesuits, is Paraguay just the same. To give a new fashion to evil is not a useful task. To recommence the old slavery is idiotic. Let the nations of Europe beware of a despotism made anew from materials they have to some extent themselves supplied. Such a thing, cemented with a special philosophy, might well last. We have just mentioned the theorists, some of whom otherwise right and sincere, who, by dint of fearing the dispersion of activities and energies, and of what they call "anarchy," have arrived at an almost Chinese acceptation of absolute social concentration. They turn their resignation into a doctrine. Provided man eats and drinks, all is right. The happiness of the beast is the solution. But this is a happiness which some other men would call by a different name.

We dream for nations something else besides a felicity solely made up of obedience. The bastinado procures that sort of felicity for the Turkish fellah, the knout for the Russian serf, and the cat-o'-nine-tails for the English soldier. These socialists by the side of socialism come from Joseph de Maistre, and from Ancillon, without suspecting it perhaps; for the ingenuousness of these theorists rallied to thefait accomplihas—or fancies it has—democratic intentions, and speaks energetically of the "principles of '89." Let these involuntary philosophers of a possible despotism think a moment. To teach the masses a doctrine against liberty; to cram intellects with appetites and fatalism, a certain situation being given; to saturate it with materialism; and to run the risk of the construction which might proceed from it,—that would be to understand progress in the fashion of the worthy man who applauded a new gibbet, and who exclaimed, "This is all right! We have had till now but the old wooden gallows. To-day the age advances; and here we are with a good stone gibbet, which will do for our children and grandchildren!"

To enjoy a full stomach, a satisfied intestine, a satiated belly, is doubtless something, for it is the enjoyment of the brute. However, one may place one's ambition higher.

Certainly, a good salary is a fine thing. To tread on this firm ground, high wages, is pleasant. The wise man likes to want nothing. To insure his own position is the characteristic of an intelligent man. An official chair, with ten thousand sesterces a year, is a graceful and convenient seat. Great emoluments give a fresh complexion and good health. One lives to an old age in pleasant, well-paid sinecures. The high financial world, rich in plentiful profits, is a place agreeable to live in. To be well at Court settles a family well and brings a fortune. As for myself, I prefer to all these solid comforts the old leaky vessel in which Bishop Quodvultdeus embarks with a smile.

There is something beyond gorging one's self. The goal of man is not the goal of the animal.

A moral enhancement is necessary. The life of nations, like the life of individuals, has its minutes of depression; these minutes pass, certainly, but no trace of them ought to remain. Man, at this hour, tends to fall into the stomach. Man must be replaced in the heart; man must be replaced in the brain. The brain,—behold the sovereign that must be restored! The social question requires to-day, more than ever, to be examined on the side of human dignity.

To show man the human end, to ameliorate intelligence first, the animal afterward, to disdain the flesh as long as the thought is despised, and to give the example on their own flesh,—such is the actual, immediate, urgent duty of writers.

It is what men of genius have done at all times.

You ask in what poets can be useful? In imbuing civilization with light,-only that.

Up to this day there has been a literature ofliterati.In France, particularly, as we have said, literature had a disposition to form a caste. To be a poet was something like being a mandarin. Words did not all belong by right to the language. The dictionary granted or did not grant the registration. The dictionary had a will of its own. Imagine the botanist declaring to a vegetable that it does not exist, and Nature timidly offering an insect to entomology, which refuses it as incorrect. Imagine astronomy cavilling at the stars. We recollect having heard an Academician, now dead, say in full academy that French had been spoken in France only in the seventeenth century, and then for only twelve years,—we do not remember which twelve. Let us give up, for it is time, this order of ideas; democracy requires it. The actual enlarging of thoughts needs something else. Let us leave the college, the conclave, the cell, the weak taste, weak art, the small chapel. Poetry is not a coterie. There is at this hour an effort made to galvanize dead things. Let us strive against this tendency. Let us insist on the truths which are urgent. Thechefs-d'œuvrerecommended by the manual of bachelorship, compliments in verse and in prose, tragedies soaring over the head of some king, inspiration in full official dress, the brilliant nonentities fixing laws on poetry, theArts poétiqueswhich forget La Fontaine, and for which Molière is doubtful, the Planats castrating the Corneilles, prudish tongues, the thoughts enclosed between four walls, and limited by Quintilian, Longinus, Boileau, and La Harpe,—all that, although official and public teaching is filled and saturated with it, all that belongs to the past. Some particular epoch, which is called the grand century, and for a certainty the fine century, is nothing else in reality but a literary monologue. Is it possible to realize such a strange thing,—a literature which is an aside? It seems as if one read on the frontal of art "No admittance." As for ourselves, we understand poetry only with the door wide open. The hour has struck for hoisting the "All for All." What is needed by civilization, henceforth a grown-up woman, is a popular literature.

1830 has opened a debate, literary on the surface, at the bottom social and human. The moment is come to close the debate. We close it by asking a literature having in view this purpose: "The People."

The author of these pages wrote, thirty-one years ago, in the preface to "Lucrèce Borgia," a few words often repeated since: "Le poète a charge d'âmes." He would add here, if it were worth saying, that, allowing for possible error, the words, uttered by his conscience, have been his rule throughout life.

Macchiavelli had a strange idea of the people. To heap the measure, to overflow the cup, to exaggerate horror in the case of the prince, to increase the crushing in order to stir up the oppressed to revolt, to cause idolatry to change into a curse, to push the masses to extremities,—such seems to be his policy. His "yes" signifies "no." He loads the despot with despotism in order to make him burst. The tyrant becomes in his hands a hideous projectile, which will break to pieces. Macchiavelli conspires. For whom? Against whom? Guess. His apotheosis of kings is just the thing to make regicides. On the head of his prince he places a diadem of crimes, a tiara of vices, a halo of baseness; and he invites you to adore his monster, with the air of a man expecting an avenger. He glorifies evil with a squint toward the darkness,—the darkness wherein is Harmodius. Macchiavelli, the getter-up of princely outrages, the valet of the Medici and of the Borgias, had in his youth been put to the rack for having admired Brutus and Cassius. He had perhaps plotted with the Soderini the deliverance of Florence. Does he recollect it? Does he continue? His advice is followed, like the lightning, by a low rumbling in the cloud,—alarming reverberation. What did he mean to say? On whom has he a design? Is the advice for or against him to whom he gives it? One day, at Florence, in the garden of Cosmo Ruccelaï, there being present the Duke of Mantua and John de Medici, who afterward commanded the Black Bands of Tuscany, Varchi, the enemy of Macchiavelli, heard him say to the two princes: "Let the people read no book,—not even mine." It is curious to compare with this remark the advice given by Voltaire to the Duke de Choiseul,—at the same time advice to the minister, and insinuation for the king: "Let the boobies read our nonsense. There is no danger in reading, my lord. What can a great king like the King of France fear? The people are but rabble, and the books are but trash." Let them read nothing, let them read everything: these two pieces of contrary advice coincide more than one would think. Voltaire, with hidden claws, is purring at the feet of the king, Voltaire and Macchiavelli are two formidable indirect revolutionists, dissimilar in everything, and yet identical in reality by their profound hatred, disguised in flattery, of the master. The one is malignant, the other is sinister. The princes of the sixteenth century had as theorist on their infamies, and as enigmatical courtier, Macchiavelli, an enthusiast dark at heart. The flattery of a sphinx,—terrible thing! Better yet be flattered, like Louis XV., by a cat.

Conclusion: Make the people read Macchiavelli, and make them read Voltaire.

Macchiavelli will inspire them with horror of, and Voltaire with contempt for, crowned guilt.

But the hearts should turn, above all, toward the grand pure poets, whether they be sweet like Virgil or bitter like Juvenal.

The progress of man by the education of minds,—there is no safety but in that. Teach! learn! All the revolutions of the future are enclosed and imbedded in this phrase: Gratuitous and obligatory instruction.

It is by the unfolding of works of the highest order that this vast intellectual teaching should be crowned. At the top the men of genius.

Wherever there is a gathering of men, there ought to be in a special place, a public expositor of the great thinkers.

By a great thinker we mean a beneficent thinker.

The perpetual presence of the beautiful in their works maintains poets at the summit of teaching.

No one can foresee the quantity of light which will be brought forth by letting the people be in communication with men of genius. This combination of the hearts of the people with the heart of the poet will be the Voltaic pile of civilization.

Will the people understand this magnificent teaching? Certainly. We know of nothing too lofty for the people. The people are a great soul. Have you ever gone on a fête-day to a theatre open gratuitously to all? What do you think of that auditory? Do you know of any other more spontaneous and intelligent? Do you know, even in the forest, of a vibration more profound? The court of Versailles admires like a well-drilled regiment; the people throw themselves passionately into the beautiful. They pack together, crowd, amalgamate, combine, and knead themselves in the theatre,—a living paste that the poet is about to mould. The powerful thumb of Molière will presently make its mark on it; the nail of Corneille will scratch this ill-shaped heap. Whence does that heap come? Whence does it proceed? From the Courtille, from the Porcherons, from the Cunette; it is shoeless, it is bare-armed, it is ragged. Silence! This is the human block.

The house is crowded, the vast multitude looks, listens, loves; all consciences, deeply moved, throw off their inner fire; all eyes glisten; the huge beast with a thousand heads is there,—the Mob of Burke, thePlebsof Titus Livius, theFex urbisof Cicero. It caresses the beautiful; smiling at it with the grace of a woman. It is literary in the most refined sense of the word; nothing equals the delicacy of this monster. The tumultuous crowd trembles, blushes, palpitates. Its modesty is surprising; the crowd is a virgin. No prudery however; this brute is not brutal. Not a sympathy escapes it; it has in itself the whole keyboard, from passion to irony, from sarcasm to sobbing. Its compassion is more than compassion; it is real mercy. God is felt in it. All at once the sublime passes, and the sombre electricity of the abyss heaves up suddenly all this pile of hearts and entrails; enthusiasm effects a transfiguration. And now, is the enemy at the gates, is the country in danger? Appeal to that populace, and it would enact the sublime drama of Thermopylæ. Who has called forth such a metamorphosis? Poetry.

The multitude (and in this lies their grandeur) are profoundly open to the ideal. When they come in contact with lofty art they are pleased, they shudder. Not a detail escapes them. The crowd is one liquid and living expanse capable of vibration. A mass is a sensitive-plant. Contact with the beautiful agitates ecstatically the surface of multitudes,—sure sign that the depth is sounded. A rustling of leaves, a mysterious breath, passes, the crowd trembles under the sacred insufflation of the abyss.

And even where the man of the people is not in a crowd, he is yet a good hearer of great things. His ingenuousness is honest, his curiosity healthy. Ignorance is a longing. His near connection with Nature renders him subject to the holy emotion of the true. He has, toward poetry, secret natural desires which he does not suspect himself. All the teachings are due to the people. The more divine the light, the more is it made for this simple soul. We would have in the villages a pulpit from which Homer should be explained to the peasants.

Too much matter is the evil of our day. Hence a certain dulness.

It is necessary to restore some ideal in the human mind. Whence shall you take your ideal? Where is it? The poets, the philosophers, the thinkers are the urns. The ideal is in Æschylus, in Isaiah, in Juvenal, in Alighieri, in Shakespeare. Throw Æschylus, throw Isaiah, throw Juvenal, throw Dante, throw Shakespeare into the deep soul of the human race.

Pour Job, Solomon, Pindar, Ezekiel, Sophocles, Euripides, Herodotus, Theocritus, Plautus, Lucretius, Virgil, Terence, Horace, Catullus, Tacitus, Saint Paul, Saint Augustine, Tertullian, Petrarch, Pascal, Milton, Descartes, Corneille, La Fontaine, Montesquieu, Diderot, Rousseau, Beaumarchais, Sedaine, André Chenier, Kant, Byron, Schiller,—pour all these souls into man. And with them pour all the wits from Æsop up to Molière, all the intellects from Plato up to Newton, all the encyclopædists from Aristotle up to Voltaire.

By that means, while curing the illness for the moment, you will establish forever the health of the human mind.

You will cure the middle class and found the people.

As we have said just now, after the destruction which has delivered the world, you will construct the edifice which shall make it prosper.

What an aim,—to make the people! Principles combined with science; every possible quantity of the absolute introduced by degrees into the fact; Utopia treated successively by every mode of realization,—by political economy, by philosophy, by physics, by chemistry, by dynamics, by logic, by art; union replacing little by little antagonism, and unity replacing union; for religion God, for priest the father, for prayer virtue, for field the whole earth, for language the verb, for law the right, for motive-power duty, for hygiene labour, for economy universal peace, for canvas the very life, for the goal progress, for authority liberty, for people the man,—such is the simplification.

And at the summit the ideal.

The ideal!—inflexible type of perpetual progress.

To whom belong men of genius, if not to thee, people? They do belong to thee; they are thy sons and thy fathers. Thou givest birth to them, and they teach thee. They open in thy chaos vistas of light. Children, they have drunk thy sap. They have leaped in the universal matrix, humanity. Each of thy phases, people, is an avatar. The deep essence of life, it is in thee that it must be looked for. Thou art the great bosom. Geniuses are begotten from thee, mysterious crowd.

Let them therefore return to thee.

People, the author, God, dedicates them to thee.

Ah, minds, be useful! Be of some service. Do not be fastidious when it is necessary to be efficient and good. Art for art may be beautiful, but art for progress is more beautiful yet. To dream revery is well, to dream Utopia is better. Ah, you must think? Then think of making man better. You must dream? Here is the dream for you,—the ideal. The prophet seeks solitude, but not isolation. He unravels and untwists the threads of humanity, tied and rolled in a skein in his soul; he does not break them. He goes into the desert to think—of whom? Of the multitude. It is not to the forests that he speaks; it is to the cities, It is not at the grass bending to the wind that he looks; it is at man. It is not against lions that he wars; it is against tyrants. Woe to thee, Ahab! woe to thee, Hosea! woe to you, kings! woe to you, Pharaohs! is the cry of the great solitary one. Then he weeps.

For what? For that eternal captivity of Babylon, undergone by Israel formerly, undergone by Poland, by Roumania, by Hungary, by Venice to-day. He grows old, the good and dark thinker; he watches, he lies in wait, he listens, he looks,—ear in the silence, eye in the night, claw half stretched toward the wicked. Go and speak to him, then, of art for art, to that cenobite of the ideal. He has his aim, and he walks straight toward it; and his aim is this: improvement. He devotes himself to it.

He does not belong to himself; he belongs to his apostleship. He is intrusted with that immense care,—the progress of the human race. Genius is not made for genius, it is made for man. Genius on earth is God giving himself. Each time that a masterpiece appears, it is a distribution of God that takes place. The masterpiece is a variety of the miracle. Thence, in all religions, and among all peoples, comes faith in divine men. They deceive themselves, those who think that we deny the divinity of Christs.

At the point now reached by the social question, everything should be action in common. Forces isolated frustrate one another; the ideal and the real strengthen each other. Art necessarily aids science. These two wheels of progress should turn together.

Generation of new talents, noble group of writers and poets, legion of young men, O living posterity of my country, your elders love and salute you! Courage! let us consecrate ourselves. Let us devote ourselves to the good, to the true, to the just. In that there is goodness.

Some pure lovers of art, affected by a preoccupation which in its way has its dignity and nobleness, discard this formula, "Art for progress," the Beautiful Useful, fearing lest the useful should deform the beautiful. They tremble lest they should see attached to the fine arms of the Muse the coarse hands of the drudge. According to them, the ideal may become perverted by too much contact with reality. They are solicitous for the sublime if it is lowered as far as humanity. Ah, they are mistaken.

The useful, far from circumscribing the sublime, increases it. The application of the sublime to human things produces unexpectedchefs-d'œuvre.The useful, considered in itself and as an element combining with the sublime, is of several kinds; there is the useful which is tender, and there is the useful which is indignant. Tender, it refreshes the unfortunate and creates the social epopee; indignant, it flagellates the wicked, and creates the divine satire. Moses hands the rod to Jesus; and after having caused the water to gush from the rock, that august rod, the very same, drives the vendors from the sanctuary.

What! art should grow less because it has expanded? No. One service more is one more beauty.

But people cry out: To undertake the cure of social evils; to amend the codes; to denounce the law to the right; to pronounce those hideous words, "bagne," "galley-slave," "convict," "girl of the town;" to control the police-registers; to contract the dispensaries; to investigate wages and the want of work; to taste the black bread of the poor; to seek labour for the work-girl; to confront fashionable idleness with ragged sloth; to throw down the partition of ignorance; to open schools; to teach little children how to read; to attack shame, infamy, error, vice, crime, want of conscience; to preach the multiplication of spelling-books; to proclaim the equality of the sun; to ameliorate the food of intellects and of hearts; to give meat and drink; to claim solutions for problems and shoes for naked feet,—that is not the business of the azure. Art is the azure.

Yes, art is the azure; but the azure from above, from which falls the ray which swells the corn, makes the maize yellow and the apple round, gilds the orange, sweetens the grape. I repeat it, one service more is one more beauty. At all events, where is the diminution? To ripen the beet-root, to water the potatoes, to thicken the lucern, the clover, and the hay; to be a fellow-workman with the ploughman, the vine-dresser, and the gardener,—that does not deprive the heavens of one star. Ah, immensity does not despise utility, and what does it lose by it? Does the vast vital fluid that we call magnetic or electric lighten less splendidly the depth of the clouds because it consents to perform the office of pilot to a bark, and to keep always turned to the north the small needle that is trusted to it, the huge guide? Is the aurora less magnificent, has it less purple and emerald, does it undergo any decrease of majesty, of grace and radiancy, because, foreseeing the thirst of a fly, it carefully secretes in the flower the drop of dew which the bee requires?

Yet, people insist: To compose social poetry, human poetry, popular poetry; to grumble against the evil and for the good; to promote public passions; to insult despots; to make rascals despair; to emancipate man before he is of age; to push souls forward and darkness backward; to know that there are thieves and tyrants; to clean penal cells; to empty the pail of public filth,—what! Polyhymnia, sleeves tucked up to do such dirty work? Oh, for shame!

Why not?

Homer was the geographer and the historian of his time, Moses the legislator of his, Juvenal the judge of his, Dante the theologian of his, Shakespeare the moralist of his, Voltaire the philosopher of his. No region, in speculation or in real fact, is shut to the mind. Here a horizon, there wings; right for all to soar.

For certain sublime beings, to soar is to serve. In the desert not a drop of water,—a horrible thirst; the wretched file of pilgrims drag along overcome. All at once, in the horizon, above a wrinkle in the sands, a griffin is seen soaring, and all the caravan cry out, "There is water there!"

What thinks Æschylus of art as art? Certainly, if ever a poet was a poet, it is Æschylus. Listen to his reply. It is in the "Frogs" of Aristophanes, line 1039. Æschylus speaks:—

"Since the beginning of time, the illustrious poet has served men. Orpheus has taught the horror of murder, Musæus oracles and medicine, Hesiod agriculture, and that divine Homer, heroism. And I, after Homer, I have sung Patroclus, and Teucer the lion-hearted; so that every citizen should try to resemble the great men."

As all the sea is salt, so all the Bible is poetry. This poetry talks politics at its own hours. Open 1 Samuel, chapter VIII. The Jewish people demand a king:

"...And the Lord said unto Samuel, Hearken unto the voice of the people in all that they say unto thee; for they have not rejected thee, but they have rejected me, that I should not reign over them.... And Samuel told all the words of the Lord unto the people that asked of him a king. And he said, This will be the manner of the king that shall reign over you: He will take your sons and appoint them for himself, for his chariots, and to be his horsemen; and some shall run before his chariots.... And he will take your daughters to be confectionaries, and to be cooks, and to be bakers. And he will take your fields, and your vineyards, and your oliveyards, even the best of them, and give them to his servants. And he will take your men-servants, and your maid-servants, and your goodliest young men, and your asses, and put them to his work. He will take the tenth of your sheep: and ye shall be his servants. And ye shall cry out in that day because of your king which ye shall have chosen you; and the Lord will not hear you in that day."

Samuel, we see, denies the right divine; Deuteronomy shakes the altar,—the false altar, let us observe; but is not the next altar always the false altar? "You shall demolish the altars of the false gods. You shall seek God where he dwells." It is almost Pantheism. Because it takes part in human things, is democratic here, iconoclast there, is that book less magnificent and less supreme? If poetry is not in the Bible, where is it?

You say: The muse is made to sing, to love, to believe, to pray. Yes and no. Let us understand each other. To sing whom? The void. To love what? One's self. To believe in what? The dogma. To pray to what? The idol. No, here is the truth: To sing the ideal, to love humanity, to believe in progress, to pray to the infinite.

Take care, you who are tracing those circles round the poet, you put him beyond man. That the poet should be beyond humanity in one way,—by the wings, by the immense flight, by the sudden possible disappearance in the fathomless,—is well; it must be so, but on condition of reappearance. He may depart, but he must return. Let him have wings for the infinite, provided he has feet for the earth, and that, after having been seen flying, he is seen walking. Let him become man again, after he has gone out of humanity. After he has been seen an archangel, let him be once more a brother. Let the star which is in that eye weep a tear, and that tear be the human tear. Thus, human and superhuman, he shall be the poet. But to be altogether beyond man, is not to be. Show me thy foot, genius, and let us see if, like myself, thou hast earthly dust on thy heel.

If thou hast not some of that dust, if thou hast never walked in my pathway, thou dost not know me and I do not know thee. Go away. Thou believest thyself an angel, thou art but a bird.

Help from the strong for the weak, help from the great for the small, help from the free for the slaves, help from the thinkers for the ignorant, help from the solitary for the multitudes,—such is the law, from Isaiah to Voltaire. He who does not follow that law may be a genius, but he is only a useless genius. By not handling the things of the earth, he thinks to purify himself; he annuls himself. He is the refined, the delicate, he may be the exquisite genius; he is not the great genius. Any one, roughly useful, but useful, has the right to ask on seeing that good-for-nothing genius: "Who is this idler?" The amphora which refuses to go to the fountain deserves the hooting of the pitchers.

Great is he who consecrates himself! Even when overcome, he remains serene, and his misery is happiness. No, it is not a bad thing for the poet to meet face to face with duty. Duty has a stern resemblance to the ideal. The act of doing one's duty is worth all the trial it costs. No, the jostling with Cato is not to be avoided. No, no, no; truth, honesty, teaching the crowds, human liberty, manly virtue, conscience, are not things to disdain. Indignation and emotion are but one faculty turned toward the two sides of mournful human slavery; and those who are capable of anger are capable of love. To level the tyrant and the slave, what a magnificent effort! Now, the whole of one side of actual society is tyrant, and all the other side is slave. To straighten this out will be a wonderful thing to accomplish; yet it will be done. All thinkers must work with that end in view. They will gain greatness in that work. To be the servant of God in the march of progress and the apostle of God with the people,—such is the law which regulates the growth of genius.

There are two poets,—the poet of caprice and the poet of logic; and there is a third poet, a component of both, amending them one by the other, completing them one by the other, and summing them up in a loftier entity,—the two statures in a single one. The third is the first. He has caprice, and he follows the wind. He has logic, and he follows duty. The first writes the Canticle of Canticles, the second writes Leviticus, the third writes the Psalms and the Prophecies. The first is Horace, the second is Lucan, the third is Juvenal. The first is Pindar, the second is Hesiod, the third is Homer.

No loss of beauty results from goodness. Is the lion less beautiful than the tiger, because it has the faculty of merciful emotion? Does that jaw which opens to let the infant fall into the hands of the mother deprive that mane of its majesty? Does the vast noise of the roaring vanish from that terrible mouth because it has licked Androcles? The genius which does not help, even if graceful, is deformed. A prodigy without love is a monster. Let us love! let us love!

To love has never hindered from pleasing. Where have you seen one form of the good excluding the other? On the contrary, all that is good is connected. Let us, however, understand each other. It does not follow that to have one quality implies necessarily the possession of the other; but it would be strange that one quality added to another should make less. To be useful, is but to be useful; to be beautiful is but to be beautiful; to be useful and beautiful is to be sublime. That is what Saint Paul is in the first century, Tacitus and Juvenal in the second, Dante in the thirteenth, Shakespeare in the sixteenth, Milton and Molière in the seventeenth.

We have just now recalled a saying become famous: "Art for art." Let us, once for all, explain ourselves in this question. If faith can be placed in an affirmation very general and very often repeated (we believe honestly), these words, "Art for art," would have been written by the author of this book himself. Written? Never! You may read, from the first to the last line, all that we have published; you will not find these words. It is the opposite which is written throughout our works, and, we insist on it, in our entire life. As for these words in themselves, how far are they real? Here is the fact, which several of our contemporaries remember as well as we do. One day, thirty-five years ago, in a discussion between critics and poets on Voltaire's tragedies, the author of this book threw out this suggestion: "This tragedy is not a tragedy. It is not men who live, it is sentences which speak in it! Rather a hundred times 'Art for art!'" This remark turned, doubtless involuntarily, from its true sense to serve the wants of discussion, has since taken, to the great surprise of him who had uttered it, the proportions of a formula. It is this opinion, limited to "Alzire" and to the "Orpheline de la Chine," and incontestable in that restricted application, which has been turned into a perfect declaration of principles, and an axiom to inscribe on the banner of art.

This point settled, let us go on.

Between two verses, the one by Pindar, deifying a coachman or glorifying the brass nails of the wheel of a chariot, the other by Archilochus, so powerful that, after having read it, Jeffreys would leave off his career of crimes and would hang himself on the gallows prepared by him for honest people,—between these two verses, of equal beauty, I prefer that of Archilochus.

In times anterior to history, when poetry is fabulous and legendary, it has a Promethean grandeur. What composes this grandeur? Utility. Orpheus tames wild animals; Amphion builds cities; the poet, tamer and architect, Linus aiding Hercules, Musæus assisting Dædalus, poetry a civilizing power,—such is the origin. Tradition agrees with reason. The common-sense of peoples is not deceived in that. It always invents fables in the sense of truth. Everything is great in those magnifying distances. Well, then, the wild-beast-taming poet that you admire in Orpheus, recognize him in Juvenal.

We insist on Juvenal. Few poets have been more insulted, more contested, more calumniated. Calumny against Juvenal has been drawn at such long date that it lasts yet. It passes from one literary clown to another. These grand haters of evil are hated by all the flatterers of power and success. The mob of fawning sophists, of writers who have around the neck the mark of their slavery, of bullying historiographers, of scholiasts kept and fed, of court and school followers, stand in the way of the glory of the punishers and avengers. They croak around those eagles. People do not willingly render justice to the dispensers of justice. They hinder the masters and rouse the indignation of the lackeys. There is such a thing as the indignation of baseness.

Moreover, the diminutives cannot do less than help one another, and Cæsarion must at least have Tyrannion as a support The pedant snaps the ferules for the benefit of the satrap. There is for this kind of work a literary sycophancy and an official pedagogism. These poor, dear-paying vices; these excellent indulgent crimes; his Highness Rufinus; his Majesty Claudius; that august Madame Messalina who gives such beautifulfêtes, and pensions out of her privy purse, and who lasts and who is perpetuated, always crowned, calling herself Theodora, then Fredegonde, then Agnes, then Margaret of Burgundy, then Isabel of Bavaria, then Catherine de Medici, then Catherine of Russia, then Caroline of Naples, etc.,—all these great lords, crimes, all these fine ladies, turpitudes, shall they have the sorrow of witnessing the triumph of Juvenal! No. War with the scourge in the name of sceptres! War with the rod in the name of the shop! That is well! Go on, courtiers, clients, eunuchs, and scribes. Go on, publicans and pharisees. You will not hinder the republic from thanking Juvenal, or the temple from approving Jesus.

Isaiah, Juvenal, Dante,—they are virgins. Observe their eyes cast down. There is chastity in the anger of the just against the unjust. The Imprecation can be as holy as the Hosanna; and indignation, honest indignation, has the very purity of virtue. In point of whiteness, the foam has no reason to envy the snow.

History proves the working partnership of art and progress.Dictus ob hoc lenire tigres.Rhythm is a power,—a power that the Middle Ages recognize and submit to not less than antiquity. The second barbarism, feudal barbarism, dreads also this power,—poetry. The barons, not over-timid, are abashed before the poet. Who is this man? They fear lest a manly song be sung. The spirit of civilization is with this unknown. The old donjons full of carnage open their wild eyes, and suspect the darkness; anxiety seizes hold of them. Feudality trembles; the den is disturbed. The dragons and the hydras are ill at ease. Why? Because an invisible god is there.

It is curious to find this power of poetry in countries where unsociableness is deepest, particularly in England, in that extreme feudal darkness,penitus toto divisos orbe Britannos.If we believe the legend,—a form of history as true and as false as any other,—it is owing to poetry that Colgrim, besieged by the Britons, is relieved in York by his brother Bardulph the Saxon; that King Awlof penetrates into the camp of Athelstan; that Werburgh, prince of Northumbria, is delivered by the Welsh, whence, it is said, that Celtic device of the Prince of Wales,Ich dien; that Alfred, King of England, triumphs over Gitro, King of the Danes; and that Richard the Lion-hearted escapes from the prison of Losenstein. Ranulph, Earl of Chester, attacked in his castle of Rothelan, is saved by the intervention of the minstrels, which was still authenticated under Elizabeth by the privilege accorded to the minstrels patronized by the Lords of Dalton.

The poet had the right of reprimand and menace. In 1316, on Pentecost Day, Edward II. being at table in the grand hall of Westminster with the peers of England, a female minstrel entered the hall on horseback, rode all round, saluted Edward II., predicted in a loud voice to the minion Spencer the gibbet and castration by the hand of the executioner, and to the king the hoof by means of which a red-hot iron should be buried in his intestines, placed on the table before the king a letter, and departed; and no one said anything to her.

At the festivals the minstrels passed before the priests, and were more honourably treated. At Abingdon, at a festival of the Holy Cross, each of the twelve priests received fourpence, and each of the twelve minstrels two shillings. At the priory of Maxtoke, the custom was to give supper to the minstrels in the Painted Chamber, lighted by eight huge wax-candles.

The more we advance North, it seems as if the increased thickness of the fog increases the greatness of the poet. In Scotland he is enormous. If anything surpasses the legend of the Rhapsodists, it is the legend of the Scalds. At the approach of Edward of England, the bards defend Stirling as the three hundred had defended Sparta; and they have their Thermopylæ, as great as that of Leonidas. Ossian, perfectly certain and real, has had a plagiary; that is nothing; but this plagiarist has done more than rob him,—he has made him insipid. To know Fingal only by Macpherson is as if one knew Amadis only by Tressan. They show at Staffa the stone of the poet,Clachan an Bairdh,—so named, according to many antiquaries, long before the visit of Walter Scott to the Hebrides. This chair of the Bard—a great hollow rock ready for a giant wishing to sit down—is at the entrance of the grotto. Around it are the waves and the clouds. Behind the Clachan an Bairdh is heaped up and raised the superhuman geometry of basaltic prisms, the pell-mell of colonnades and waves, and all the mystery of the fearful edifice. The gallery of Fingal runs next to the poet's chair; the sea beats on it before entering under that terrible ceiling. When evening comes, one imagines that he sees in that chair a form leaning on its elbow. "It is the ghost!" say the fishermen of Mackinnon's clan; and no one would dare, even in full day, to go up as far as that formidable seat; for to the idea of the stone is allied the idea of the sepulchre, and on the chair of granite no one can be seated but the man of shade.

Thought is power.

All power is duty. Should this power enter into repose in our age? Should duty shut its eyes? and is the moment come for art to disarm? Less than ever. The human caravan is, thanks to 1789, arrived on a high plateau; and the horizon being more vast, art has more to do. This is all. To every widening of horizon corresponds an enlargement of conscience.

We have not reached the goal. Concord condensed in happiness, civilization summed up in harmony,—that is far off yet. In the eighteenth century that dream was so distant that it seemed a guilty thought. The Abbé de St. Pierre was expelled from the Academy for having dreamed that dream,—an expulsion which seems rather severe at a period when pastorals carried the day, even with Fontenelle, and when St. Lambert invented the idyll for the use of the nobility. The Abbé de St. Pierre has left behind him a word and a dream: the word is his own,—"Benevolence;" the dream belongs to all of us,—"Fraternity." This dream, which made Cardinal de Polignac foam and Voltaire smile, is not now so much lost as it was once in the mist of the improbable. It is a little nearer; but we do not touch it. The people, those orphans who seek their mother, do not yet hold in their hand the hem of the robe of peace.

There remains around us a sufficient quantity of slavery, of sophistry, of war and death, to prevent the spirit of civilization from giving up any of its forces. The idea of the right divine is not yet entirely done away with. That which has been Ferdinand VII. in Spain, Ferdinand II. in Naples, George IV. in England, Nicholas in Russia, still floats about; a remnant of these spectres is still hovering in the air. Inspirations descend from that fatal cloud on some crown-bearers who, leaning on their elbows, meditate with a sinister aspect.

Civilization has not done yet with those who grant constitutions, with the owners of peoples, and with the legitimate and hereditary madmen, who assert themselves majesties by the grace of God, and think that they have the right of manumission over the human race. It is necessary to raise some obstacle, to show bad will to the past, and to bring to bear on these men, on these dogmas, on these chimeras which stand in the way, some hindrance. Intellect, thought, science, true art, philosophy, ought to watch and beware of misunderstandings. False rights contrive very easily to put in movement true armies. There are murdered Polands looming in the future. "All my anxiety," said a contemporary poet recently dead, "is the smoke of my cigar." My anxiety is also a smoke,—the smoke of the cities which are burning in the distance. Therefore, let us bring the masters to grief, if we can.

Let us go again in the loudest possible voice over the lesson of the just and the unjust, of right and usurpation, of oath and perjury, of good and evil, offas et nefas; let us come forth with all our old antitheses, as they say. Let us contrast what ought to be with what actually is. Let us put clearness into everything. Bring light, you that have it. Let us oppose dogma to dogma, principle to principle, energy to obstinacy, truth to imposture, dream to dream,—the dream of the future to the dream of the past,—liberty to despotism. People will be able to sit down, to stretch themselves at full length, and to go on smoking the cigar of fancy poetry, and to enjoy Boccaccio's "Decameron" with the sweet blue sky over their heads, whenever the sovereignty of a king shall be exactly of the same dimension as the liberty of a man. Until then, little sleep. I am distrustful.

Put sentinels everywhere. Do not expect from despots a large share of liberty. Break your own shackles, all of you Polands that may be! Make sure of the future by your own exertions. Do not hope that your chain will forge itself into the key of freedom. Up, children of the fatherland! O mowers of the steppes, arise! Trust to the good intentions of orthodox czars just enough to take up arms. Hypocrisies and apologies, being traps, are one more danger.

We live in a time when orations are heard praising the magnanimity of white bears and the tender feelings of panthers. Amnesty, clemency, grandeur of soul; an era of felicity opens; fatherly love is the order of the day; see all that is already done; it must not be thought that the march of the age is not understood; august arms are open; rally still closer round the emperor; Muscovy is kind-hearted. See how happy the serfs are! The streams are to flow with milk, with prosperity and liberty for all. Your princes groan like you over the past; they are excellent. Come, fear nothing, little ones! so far as we are concerned, we confess candidly that we are of those who put no reliance in the lachrymal gland of crocodiles.

The actual public monstrosities impose stem obligations on the conscience of the thinker, philosopher, or poet. Incorruptibility must resist corruption. It is more than ever necessary to show men the ideal,—that mirror in which is seen the face of God.

There are in literature and philosophy men who have tears and laughter at command,—Heraclituses wearing the mask of a Democritus; men often very great, like Voltaire. They are irony keeping a serious, sometimes tragic countenance.

These men, under the pressure of the influences and prejudices of their time, speak with a double meaning. One of the most profound is Bayle,[1]the man of Rotterdam, the powerful thinker. When Bayle coolly utters this maxim, "It is better worth our while to weaken the grace of a thought than to anger a tyrant," I smile; I know the man. I think of the persecuted, almost proscribed one, and I know well that he has given way to the temptation of affirming merely to give me the longing to contest. But when it is a poet who speaks,—a poet wholly free, rich, happy, prosperous almost to inviolability,—one expects a clear, open, and healthy teaching, one cannot believe that from such a man can emanate anything like a desertion of his own conscience; and it is with a blush that one reads this:—

"Here below, in time of peace, let every man sweep his own street-door. In war, if conquered, let every man fraternize with the soldiery.... Let every enthusiast be put on the cross when he reaches his thirtieth year. If he has once experienced the world as it is, from the dupe he becomes the rogue.... What utility, what result, what advantage does the holy liberty of the press offer you? The complete demonstration of it is this: a profound contempt of public opinion.... There are people who have a mania for railing at everything that is great,—they are the men who have attacked the Holy Alliance; and yet nothing has been invented more august and more salutary for humanity."

These things, which lower the man who has written them, are signedGoethe.Goethe, when he wrote them, was sixty years old. Indifference to good and evil excites the brain,—one may get intoxicated with it; and that is what comes of it. The lesson is a sad one. Mournful sight! Here the helot is a mind.

A quotation may be a pillory. We nail on the public highway these lugubrious sentences; it is our duty. Goethe has written that. Let it be remembered; and let no one among the poets fall again into the same error.

To go into a passion for the good, for the true, for the just; to suffer with the sufferers; to feel in our inner soul all the blows struck by every executioner on human flesh; to be scourged with Christ and flogged with the negro; to be strengthened and to lament; to climb, a Titan, that wild peak where Peter and Cæsar make their swords fraternize,gladium cum gladio copulemus; to heap up for that escalade the Ossa of the ideal on the Pelion of the real; to make a vast repartition of hope; to avail one's self of the ubiquity of the book in order to be everywhere at the same time with a comforting thought; to push pell-mell men, women, children, whites, blacks, peoples, hangmen, tyrants, victims, impostors, the ignorant, proletaries, serfs, slaves, masters, toward the future (a precipice to some, deliverance to others); to go forth, to wake up, to hasten, to march, to run, to think, to wish,—ah, indeed, that is well! It is worth while being a poet. Beware! you lose your temper. Of course I do; but I gain anger. Come and breathe into my wings, hurricane!

There has been, of late years, an instant when impassibility was recommended to poets as a condition of divinity. To be indifferent, that was called being Olympian. Where had they seen that? That is an Olympus very unlike the real one. Read Homer. The Olympians are passion, and nothing else. Boundless humanity,—such is their divinity. They fight unceasingly. One has a bow, another a lance, another a sword, another a club, another thunder. There is one of them who compels the leopards to draw him along. Another, Wisdom, has cut off the head of Night, twisted with serpents, and has nailed it to his shield. Such is the calm of the Olympians. Their angers cause the thunders to roll from one end to the other of the Iliad and of the Odyssey.

These angers, when they are just, are good. The poet who has them is the true Olympian. Juvenal, Dante, Agrippa d'Aubigné, and Milton had these angers; Molière also. From the soul of Alcestes flashes constantly the lightning of "vigorous hatreds." Jesus meant that hatred of evil when he said, "I am come to bring war."

I like Stesichorus indignant, preventing the alliance of Greece with Phalaris, and fighting the brazen bull with strokes of the lyre.

Louis XIV. found it good to have Racine sleeping in his chamber when he, the king, was ill, turning thus the poet into an assistant to his apothecary,—wonderful patronage of letters; but he asked nothing more from thebeaux esprits, and the horizon of his alcove seemed to him sufficient for them. One day, Racine, somewhat urged by Madame de Maintenon, had the idea to leave the king's chamber and to visit the garrets of the people. Thence a memoir on the public distress. Louis XIV. cast at Racine a killing look. Poets fare ill when, being courtiers, they do what royal mistresses ask of them. Racine, on the suggestion of Madame de Maintenon, risks a remonstrance which causes him to be driven from Court, and he dies of it. Voltaire at the instigation of Madame de Pompadour, tries a madrigal (an awkward one it appears), which causes him to be driven from France; and he does not die of it Louis XV. on reading the madrigal,—"Et gardez tous deux vos conquêtes,"—had exclaimed, "What a fool this Voltaire is!"

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