Literary Character of Men of Genius Part 25

He said, in confidence, "I am born with every disposition to tenderness.

When I married, she was too young to betray any evil inclinations. My studies were devoted to her, but I soon discovered her indifference. I ascribed it to her temper; her foolish pa.s.sion for Count Guiche made too much noise to leave me even this apparent tranquillity. I resolved to live with her as an honourable man, whose reputation does not depend on the bad conduct of his wife. My kindness has not changed her, but my compa.s.sion has increased. Those who have not experienced these delicate emotions have never truly loved. In her absence her image is before me; in her presence, I am deprived of all reflection; I have no longer eyes for her defects; I only view her amiable. Is not this the last extreme of folly? And are you not surprised that I, reasoning as I do, am only sensible of the weakness which I cannot throw off?"

Few men of genius have left in their writings deeper impressions of their personal feelings than Moliere. With strong pa.s.sions in a feeble frame, he had duped his imagination that, like another Pygmalion, he would create a woman by his own art. In silence and agony he tasted the bitter fruits of the disordered habits of the life of a comedian, a manager, and a poet.

His income was splendid; but he himself was a stranger to dissipation. He was a domestic man, of a pensive and even melancholy temperament. Silent and reserved, unless in conversation with that more intimate circle whose literature aided his genius, or whose friends.h.i.+p consoled for his domestic disturbances, his habits were minutely methodical; the strictest order was observed throughout his establishment; the hours of dinner, of writing, of amus.e.m.e.nt, were allotted, and the slightest derangement in his own apartment excited a morbid irritability which would interrupt his studies for whole days.

Who, without this tale of Moliere, could conjecture, that one skilled in the workings of our nature would have ventured on the perilous experiment of equalizing sixteen years against forty--weighing roses against grey locks--to convert a wayward coquette, through her capricious womanhood, into an attached wife? Yet, although Mademoiselle could cherish no personal love for the intellectual being, and hastened to change the immortal name she bore for a more terrestrial man, she seems to have been impressed by a perfect conviction of his creative genius. When the Archbishop of Paris, in the pride of prelacy, refused the rites of sepulture to the corpse of Moliere THE ACTOR, it was her voice which reminded the world of Moliere THE POET, exclaiming--"Have they denied a grave to the man to whom Greece would have raised an altar!"

THE SENSIBILITY OF RACINE.

The "Memoirs of the poet Racine," composed by his son, who was himself no contemptible poet, may be cla.s.sed among those precious pieces of biography so delightful to the philosopher who studies human nature, and the literary man whose curiosity is interested in the history of his republic.

Such, works are rare, and rank in merit next to autobiographies. Such biographical sketches, like Boswell's of Johnson, contain what we often regret is wanting in the more regular life of a professed biographer.

These desultory memoirs interest by their warmth, their more personal acquaintance with the hero, and abound with those minuter strokes which give so much life to the individual character.

The prominent feature in the character of Racine was an excessive tenderness of feeling; his profound sensibility even to its infirmity, the tears which would cover his face, and the agony in his heart, were perhaps national. But if this sensibility produced at times the softest emotions, if it made him the poet of lovers, and even the poet of imagination, it also rendered him too feelingly alive to criticism, it embittered his days with too keen a perception of the domestic miseries which all men must alike undergo.

During a dramatic performance at St. Cyr, the youthful representative of Esther suddenly forgot her part; the agitated poet exclaimed, "Oh, mademoiselle, you are ruining my piece!" Terrified at this reprimand, the young actress wept; the poet flew to her, wiped away her tears, and with contagious sympathy shed tears himself. "I do not hesitate," says Louis Racine, "to relate such minute circ.u.mstances, because this facility of shedding tears shows the goodness of the heart, according to the observation of the ancients--

[Greek:] "agathohi d aridakryes andres."

This morbid state of feeling made his whole literary life uneasy; unjust criticism affected him as much as the most poignant, and there was nothing he dreaded more than that his son should become a writer of tragedies. "I will not dissimulate," he says, addressing his son, "that in the heat of composition we are not sometimes pleased with ourselves; but you may believe me, when the day after we look over our work, we are astonished not to find that excellence we admired in the evening; and when we reflect that even what we find good ought to be still better, and how distant we are still from perfection, we are discouraged and dissatisfied. Besides all this, although the approbation I have received has been very flattering, the least adverse criticism, even miserable as it might be, has always occasioned me more vexation than all the praise I received could give me pleasure." And, again, he endeavours to impress on him that the favour he received from the world he owed not to his verses. "Do not imagine that they are my verses that attract all these kindnesses.

Corneille composes verses a hundred times finer than mine, but no one regards him. His verses are only applauded from the mouths of the actors.

I do not tire men of the world by reciting my works; I never allude to them; I endeavour to amuse them with matters which please them. My talent in their company is, not to make them feel that I have any genius, but to show them that they possess some themselves. When you observe the duke pa.s.s several hours with me, you would be surprised, were you present, that he frequently quits me without my having uttered three words; but gradually I put him in a humour of chatting, and he leaves me more satisfied with himself than with me." When Rochefoucault said that Boileau and Racine had only one kind of genius, and could only talk about their own poetry, it is evident that the observation should not have extended to Racine, however it might to Boileau. It was Racine's excessive sensibility which made him the finest dramatic reciter. The celebrated actress, Mademoiselle Champmesle,[A] the heroine of his tragedies, had no genius whatever for the stage, but she had beauty, voice, and memory. Racine taught her first to comprehend the verses she was going to recite, showed her the appropriate gesture, and gave her the variable tones, which he even sometimes noted down. His pupil, faithful to her lessons, though a mere actress of art, on the stage seemed inspired by pa.s.sion; and as she, thus formed and fas.h.i.+oned, naturally only played thus effectively in the dramas of her preceptor, it was supposed that love for the poet inspired the actress.

[Footnote A: Racine first met this actress at the Marquis de Sevigne's _pet.i.t soupers_; so much lamented by his more famous mother in one of her admirable letters, who speaks of "the Racines and the Despreaux's" who a.s.sisted his prodigality. In one of Madame de Sevigne's letters, dated in 1672, she somewhat rashly declares, "Racine now writes his dramas, not for posterity, but for Mademoiselle Champmesle:" she had then forsaken the marquis for the poet, who wrote _Roxane_ in _Bajazet_ expressly for her.

--ED.]

When Racine read aloud he diffused his own enthusiasm once with Boileau and Nicole, amid a literary circle, they talked of Sophocles, whom Racine greatly admired, but from whom he had never dared to borrow a tragic subject. Taking up a Greek Sophocles, and translating the OEdipus, the French poet became so deeply imbued with the Greek tragedian, that his auditors caught all the emotions of terror and pity. "I have seen," says one of those auditors, "our best pieces represented by our best actors, but never anything approached the agitation which then came over us; and to this distant day I have never lost the recollection of Racine, with the volume in his hand, full of emotion, and we all breathlessly pressing around him."

It was the poet's sensibility that urged him to make the most extraordinary sacrifice that ever poet made; he wished to get rid entirely of that poetical fame to which he owed everything, and which was at once his pleasure, his pride, and his property. His education had been a religious one, in the Port-Royal;[A] but when Nicole, one of that ill.u.s.trious fraternity, with undistinguis.h.i.+ng fanaticism, had once a.s.serted that all dramatic writers were public poisoners of souls, Racine, in the pride and strength of his genius, had eloquently repelled the denouncement. But now, having yet only half run his unrivalled course, he turned aside, relinquished its glory, repented of his success, and resolved to write no more tragedies.[B] He determined to enter into the austere order of the Chartreux; but his confessor, more rational than his penitent, a.s.sured him that a character so feeling as his own, and so long accustomed to the world, could not endure that terrible solitude. He advised him to marry a woman of a serious turn, and that little domestic occupations would withdraw him from the pa.s.sion he seemed most to dread, that of writing verses.

[Footnote A: For an account of this very celebrated religious foundation, its fortunes and misfortunes, see the "Curiosities of Literature," vol. i.

p. 94.--ED.]

[Footnote B: Racine ultimately conceived an aversion for his dramatic offspring, and could never be induced to edit a proper edition of his works, or even give a few lessons in declamation to a juvenile princess, who selected his _Andromaque_ for the subject, perhaps out of compliment to the poet, whose first visit became in consequence his last.--ED.]

The marriage of Racine was an act of penance--neither love nor interest had any share in the union. His wife was a good sort of woman, but perhaps the most insensible of her s.e.x; and the properest person in the world to mortify the pa.s.sion of literary glory, and the momentary exultation of literary vanity.[A] It is scarcely credible, but most certainly true, since her own son relates the fact, that the wife of Racine had neither seen acted, nor ever read, nor desired to read, the tragedies which had rendered her husband so celebrated throughout Europe; she had only learned some of their t.i.tles in conversation. She was as insensible to fortune as to fame. One day, when Racine returned from Versailles, with the princely gift from Louis XIV. of a purse of 1000 louis, he hastened to embrace his wife, and to show her the treasure. But she was full of trouble, for one of the children for two days had not studied. "We will talk of this another time," exclaimed the poet; "at present let us be happy." But she insisted he ought instantly to reprimand this child, and continued her complaints; while Boileau in astonishment paced to and fro, perhaps thinking of his Satire on Women, and exclaiming, "What insensibility! Is it possible that a purse of 1000 louis is not worth a thought!" This stoical apathy did not arise in Madame Racine from the grandeur, but the littleness, of her mind. Her prayer-books and her children were the sole objects that interested this good woman. Racine's sensibility was not mitigated by his marriage; domestic sorrows weighed heavily on his spirits: when the illness of his children agitated him, he sometimes exclaimed, "Why did I expose myself to all this? Why was I persuaded not to be a Chartreux?"--His letters to his children are those of a father and a friend; kind exhortations, or pathetic reprimands; he enters into the most domestic detail, while he does not conceal from them the mediocrity of their fortune. "Had you known him in his family," said Louis Racine, "you would be more alive to his poetical character, you would then know why his verses are always so full of sentiment. He was never more pleased than when, permitted to be absent from the court, he could come among us to pa.s.s a few days. Even in the presence of strangers he dared to be a father, and used to join us in our sports. I well remember our processions, in which my sisters were the clergy, I the rector, and the author of 'Athaliah,' chanting with us, carried the cross."

[Footnote A: The lady he chose was one Catherine de Romanet, whose family was of great respectability but of small fortune. She is not described as possessing any marked personal attractions.--ED.]

At length this infirm sensibility abridged his days. He was naturally of a melancholic temperament, apt to dwell on objects which occasion pain, rather than on those which exhilarate. Louis Racine observes that his character resembled Cicero's description of himself, more inclined to dread unfortunate events, than to hope for happy ones; _semper magis ad_ _versos rerum exitus metuens quam sperans secundos_. In the last incident of his life his extreme sensibility led him to imagine as present a misfortune which might never have occurred.

Madame de Maintenon, one day in conversation with the poet, alluded to the misery of the people. Racine observed it was the usual consequence of long wars: the subject was animating, and he entered into it with all that enthusiasm peculiar to himself. Madame de Maintenon was charmed with his eloquent effusion, and requested him to give her his observations in writing, a.s.suring him they should not go out of her hand. She was reading his memoir when the king entered her apartment; he took it up, and, after having looked over a few pages, he inquired with great quickness who was the author. She replied it was a secret; but the king was peremptory, and the author was named. The king asked with great dissatisfaction, "Is it because he writes the most perfect verses, that he thinks that he is able to become a statesman?"

Madame de Maintenon told the poet all that had pa.s.sed, and declined to receive his visits for the present. Racine was shortly after attacked with violent fever. In the languor of recovery he addressed Madame de Maintenon to pet.i.tion to have his pension freed from some new tax; and he added an apology for his presumption in suggesting the cause of the miseries of the people, with an humiliation that betrays the alarms that existed in his mind. The letter is too long to transcribe, but it is a singular instance how genius can degrade itself when it has placed all its felicity on the varying smiles of those we call the great. Well might his friend Boileau, who had nothing of his sensibility nor imagination, exclaim, with his good sense, of the court:--

Quel sejour etranger, et pour vous et pour moi!

Racine afterwards saw Madame de Maintenon walking in the gardens of Versailles; she drew aside into a retired allee to meet him; she exhorted him to exert his patience and fort.i.tude, and told him that all would end well. "No, madam," he replied, "never!" "Do you then doubt," she said, "either my heart, or my influence?" He replied, "I acknowledge your influence, and know your goodness to me; but I have an aunt who loves me in quite a different manner. That pious woman every day implores G.o.d to bestow on me disgrace, humiliation, and occasions for penitence, and she has more influence than you." As he said these words, the sound of a carriage was heard; "The king is coming!" said Madame de Maintenon; "hide yourself!"

To this last point of misery and degradation was this great genius reduced. Shortly after he died, and was buried at the feet of his master in the chapel of the studious and religious society of Port-Royal.

The sacred dramas of _Esther_ and _Athaliah_ were among the latter productions of Racine. The fate of _Athaliah_, his masterpiece, was remarkable. The public imagined that it was a piece written only for children, as it was performed by the young scholars of St. Cyr, and received it so coldly that Racine was astonished and disgusted.[A]

He earnestly requested Boileau's opinion, who maintained it was his capital work. "I understand these things," said he, "and the public _y reviendra_." The prediction was a true one, but it was accomplished too late, long after the death of the author; it was never appreciated till it was publicly performed.

[Footnote A: They were written at the request of Madame de Maintenon, for the pupils of her favourite establishment at St. Cyr; she was anxious that they should be perfect in declamation, and she tried them with the poet's _Andromaque_, but they recited it with so much pa.s.sion and feeling that they alarmed their patroness, who told Racine "it was so well done that she would be careful they should never act that drama again," and urged him to write plays on sacred subjects expressly for their use. He had not written a play for upwards of ten years; he now composed his _Esther_, making that character a flattering reflection of Maintenon's career.--ED.]

Boileau and Racine derived little or no profit from the booksellers.

Boileau particularly, though fond of money, was so delicate on this point that he gave all his works away. It was this that made him so bold in railing at those authors _qui mettent leur Apollon aux gages d'un libraire_, and he declared that he had only inserted these verses,

Je sai qu'un n.o.ble esprit peut sans honte et sans crime Tirer de son travail un tribut legitime,

to console Racine, who had received some profits from the printing of his tragedies. Those profits were, however, inconsiderable; the truth is, the king remunerated the poets.

Racine's first royal mark of favour was an order signed by Colbert for six hundred livres, _to give him the means of continuing his studies of the belles-lettres_. He received, by an account found among his papers, above forty thousand livres from the ca.s.sette of the king, by the hand of the first valet-de-chambre. Besides these gifts, Racine had a pension of four thousand livres as historiographer, and another pension as a man of letters.

Which is the more honourable? to crouch for a salary brought by the hand of the first valet-de-chambre, or to exult in the tribute offered by the public to an author?

OF STERNE.

Cervantes is immortal--Rabelais and STERNE have pa.s.sed away to the curious.

These fraternal geniuses alike chose their subjects from their own times.

Cervantes, with the innocent design of correcting a temporary folly of his countrymen, so that the very success of the design might have proved fatal to the work itself; for when he had cut off the heads of the Hydra, an extinct monster might cease to interest the readers of other times, and other manners. But Cervantes, with judgment equal to his invention, and with a cast of genius made for all times, delighted his contemporaries and charms his posterity. He looked to the world and collected other follies than the Spanish ones, and to another age than the administration of the duke of Lerma; with more genuine pleasantry than any writer from the days of Lucian, not a solitary spot has soiled the purity of his page; while there is scarcely a subject in human, nature for which we might not find some apposite ill.u.s.tration. His style, pure as his thoughts, is, however, a magic which ceases to work in all translations, and Cervantes is not Cervantes in English or in French; yet still he retains his popularity among all the nations of Europe; which is more than we can say even of our Shakspeare!

Rabelais and Sterne were not perhaps inferior in genius, and they were read with as much avidity and delight as the Spaniard. "Le docte Rabelais"

had the learning which the Englishman wanted; while unhappily Sterne undertook to satirise false erudition, which requires the knowledge of the true. Though the _Papemanes_, on whom Rabelais has exhausted his grotesque humour and his caustic satire, have not yet walked off the stage, we pay a heavy price in the grossness of his ribaldry and his tiresome balderdash for odd stories and flashes of witty humour. Rabelais hardly finds readers even in France, with the exception of a few literary antiquaries. The day has pa.s.sed when a gay dissolute abbe could obtain a rich abbey by getting Rabelais by heart, for the perpetual improvement of his patron--and Rabelais is now little more than a Rabelais by tradition.[A]

[Footnote A: The clergy were not so unfavourable to Rabelais as might have been expected. He was through life protected by the Cardinal Jean du Bellay, Bishop of Paris, who employed him in various important negotiations; and it is recorded of him that he refused a scholar admittance to his table because he had not read his works. This familiarity with his grotesque romance was also shared by Cardinal Duprat, who is said to have always carried a copy of it with him, as if it was his breviary. The anecdote of the priest who obtained promotion from a knowledge of his works is given in the "Curiosities of Literature," vol.

ii. p. 10.--ED.]

In my youth the world doted on Sterne! Martin Sherlock ranks him among "the luminaries of the century." Forty years ago, young men in their most facetious humours never failed to find the archetypes of society in the Shandy family--every good-natured soul was uncle Toby, every humorist was old Shandy, every child of Nature was Corporal Trim! It may now be doubted whether Sterne's natural dispositions were the humorous or the pathetic: the pathetic has survived!

There is nothing of a more ambiguous nature than strong humour, and Sterne found it to be so; and latterly, in despair, he a.s.serted that "the taste for humour is the gift of heaven!" I have frequently observed how humour, like the taste for olives, is even repugnant to some palates, and have witnessed the epicure of humour lose it all by discovering how some have utterly rejected his favourite relis.h.!.+ Even men of wit may not taste humour! The celebrated Dr. Cheyne, who was not himself deficient in originality of thinking with great learning and knowledge, once entrusted to a friend a remarkable literary confession. Dr. Cheyne a.s.sured him that "he could not read 'Don Quixote' with any pleasure, nor had any taste for 'Hudibras' or 'Gulliver;' and that what we call _wit_ and _humour_ in these authors he considered as false ornaments, and never to be found in those compositions of the ancients which we most admire and esteem."[A]

Cheyne seems to have held Aristophanes and Lucian monstrously cheap! The ancients, indeed, appear not to have possessed that comic quality that we understand as _humour_, nor can I discover a word which exactly corresponds with our term _humour_ in any language, ancient or modern.

Cervantes excels in that sly satire which hides itself under the cloak of gravity, but this is not the sort of humour which so beautifully plays about the delicacy of Addison's page; and both are distinct from the broader and stronger humour of Sterne.

[Footnote A: This friend, it now appears, was Dr. King, of Oxford, whose anecdotes have recently been published. This curious fact is given in a strange hodge-podge, ent.i.tled "The Dreamer;" a remarkable instance where a writer of learning often conceives that to be humour, which to others is not even intelligible!]

The result of Dr. Cheyne's honest confession was experienced by Sterne, for while more than half of the three kingdoms were convulsed with laughter at his humour, the other part were obdurately dull to it. Take, for instance, two very opposite effects produced by "Tristram Shandy" on a man of strong original humour himself, and a wit who had more delicacy and sarcasm than force and originality. The Rev. Philip Skelton declared that "after reading 'Tristram Shandy,' he could not for two or three days attend seriously to his devotion, it filled him with so many ludicrous ideas." But Horace Walpole, who found his "Sentimental Journey" very pleasing, declares that of "his tiresome 'Tristram Shandy,' he could never get through three volumes."

The literary life of Sterne was a short one: it was a blaze of existence, and it turned his head. With his personal life we are only acquainted by tradition. Was the great sentimentalist himself unfeeling, dissolute, and utterly depraved? Some anecdotes which one of his companions[A]

communicated to me, confirm Garrick's account preserved in Dr. b.u.mey's collections, that "He was more dissolute in his conduct than his writings, and generally drove every female away by his ribaldry. He degenerated in London like an ill-transplanted shrub; the incense of the great spoiled his head, and their ragouts his stomach. He grew sickly and proud --an invalid in body and mind." Warburtou declared that "he was an irrecoverable scoundrel." Authenticated facts are, however, wanting for a judicious summary of the real character of the founder of sentimental writing. An impenetrable mystery hangs over his family conduct; he has thrown many sweet domestic touches in his own memoirs and letters addressed to his daughter: but it would seem that he was often parted from his family. After he had earnestly solicited the return of his wife from France, though she did return, he was suffered to die in utter neglect.