The verses addressed to friends whose love and reverence had not forsaken the exile—to Jules Janin, to Alexandre Dumas, above all to Paul Meurice—are models of stately grace in their utterance of serene and sublime resignation, of loyal and affectionate sincerity: but those addressed to the sharers of his exile—to his wife, to his children, to their friend—have yet a deeper spiritual music in the sweet and severe perfection of their solemn cadence. I have but time to name with a word of homage in passing the famous and faultless little poem Aux Feuillantines, fragrant with the memory and musical as the laugh of childhood; the memorial verses recurring here and there, with such infinite and subtle variations on the same deep theme of mourning or of sympathy; the great brief studies of lonely landscape, imbued with such grave radiance and such noble melancholy, or kindled with the motion and quickened by the music of the sea: but two poems at all events I must select for more especial tribute of more thankful recognition: the sublime and wonderful vision of the angel who was neither life nor death, but love, more strong than either; and the all but sublimer allegory couched in verse of such majestic resonance, which shows us the star of Venus in heaven above the ruin of her island on earth. The former and shorter of these is as excellent an example as could be chosen of its author's sovereign simplicity of insight and of style.
APPARITION
Je vis un ange blanc qui passait sur ma tête;
Son vol éblouissant apaisait la tempête,
Et faisait taire au loin la mer pleine de bruit.
—Qu'est-ce que tu viens faire, ange, dans cette nuit?
Lui dis-je. Il répondit:—Je viens prendre ton âme.—
Et j'eus peur, car je vis que c'était une femme;
Et je lui dis, tremblant et lui tendant les bras:
—Que me restera-t-il? car tu t'envoleras.—
Il ne répondit pas; le ciel que l'ombre assiège
S'éteignait...—Si tu prends mon âme, m'écriai-je.
Où l'emporteras-tu? montre-moi dans quel lieu.
Il se taisait toujours.—O passant du ciel bleu,
Es-tu la mort? lui dis-je, ou bien es-tu la vie?—
Et la nuit augmentait sur mon âme ravie,
Et l'ange devint noir, et dit:—Je suis l'amour.
Mais son front sombre était plus charmant que le jour,
Et je voyais, dans l'ombre où brillaient ses prunelles,
Les astres à travers les plumes de ses ailes.
If nothing were left of Hugo but the sixth book of the Contemplations, it would yet be indisputable among those who know anything of poetry that he was among the foremost in the front rank of the greatest poets of all time. Here, did space allow, it would be necessary for criticism with any pretense to adequacy to say something of every poem in turn, to pause for observation of some beauty beyond reach of others at every successive page. In the first poem a sublime humility finds such expression as should make manifest to the dullest eye not clouded by malevolence and insolent conceit that when this greatest of modern poets asserts in his own person the prerogative and assumes for his own spirit the high office of humanity, to confront the darkest problem and to challenge the utmost force of intangible and invisible injustice as of visible and tangible iniquity, of all imaginable as of all actual evil, of superhuman indifference as well as of human wrongdoing, it is no merely personal claim that he puts forward, no vainly egotistic arrogance that he displays; but the right of a reasonable conscience and the duty of a righteous faith, common to ail men alike in whom intelligence of right and wrong, perception of duty or conception of conscience can be said to exist at all. If there be any truth in the notion of any difference between evil and good more serious than the conventional and convenient fabrications of doctrine and assumption, then assuredly the meanest of his creatures in whom the perception of this difference was not utterly extinct would have a right to denounce an omnipotent evil-doer as justly amenable to the sentence inflicted by the thunders of his own unrighteous judgment. How profound and intense was the disbelief of Victor Hugo in the rule or in the existence of any such superhuman malefactor could not be better shown than by the almost polemical passion of his prophetic testimony to that need for faith in a central conscience and a central will on which he has insisted again and again as a crowning and indispensable, requisite for moral and spiritual life. From the sublime daring, the self-confidence born of self-devotion, which finds lyrical utterance in the majestic verses headed Ibo, through the humble and haughty earnestness of remonstrance and appeal—"humble to God, haughty to man"—which pervades the next three poems, the meditative and studious imagination of the poet passes into the fuller light and larger air of thought which imbues and informs with immortal life every line of the great religious poem called Pleurs dans la nuit. In this he touches the highest point of poetic meditation, as in the epilogue to the Châtiments, written four months earlier, he had touched the highest point of poetic rapture possible to the most ardent of believers in his faith and the most unapproachable master of his art. Where all is so lofty in its coherence of construction, so perfect in its harmony of composition, it seems presumptuous to indicate any special miracle of inspired workmanship: yet, as Hugo in his various notes on mediaeval architecture was wont to select for exceptional attention and peculiar eloquence of praise this or that part or point of some superb and harmonious building, so am I tempted to dwell for a moment on the sublime imagination, the pathetic passion, of the verses which render into music the idea of a terrene and material purgatory, with its dungeons of flint and cells of clay wherein the spirit imprisoned and imbedded may envy the life and covet the suffering of the meanest animal that toils on earth; and to set beside this wonderful passage that other which even in a poem so thoroughly imbued with hope and faith finds place and voice for expression of the old mysterious and fantastic horror of the grave, more perfect than ever any mediæval painter or sculptor could achieve.
Le soir vient; l'horizon s'emplit d'inquiétude;
L'herbe tremble et bruit comme une multitude;
Le fleuve blanc reluit;
Le paysage obscur prend les veines des marbres;
Ces hydres que, le jour, on appelle des arbres,
Se tordent dans la nuit.
Le mort est seul. Il sent la nuit qui le dévore.
Quand naît le doux matin, tout l'azur de l'aurore,
Tous ses rayons si beaux,
Tout l'amour des oiseaux et leurs chansons sans nombre,
Vont aux berceaux dorés; et, la nuit, toute l'ombre
Aboutit aux tombeaux.
Il entend des soupirs dans les fosses voisines;
Il sent la chevelure affreuse des racines
Entrer dans son cercueil;
Il est l'être vaincu dont s'empare la chose;
Il sent un doigt obscur, sous sa paupière close,
Lui retirer son œil.
Il a froid; car le soir qui mêle à son haleine
Les ténèbres, l'horreur, le spectre et le phalène,
Glace ces durs grabats;
Le cadavre, lié de bandelettes blanches,
Grelotte, et dans sa bière entend les quatre planches
Qui lui parlent tout bas.
L'une dit:—Je fermais ton coffre-fort—Et l'autre
Dit:—J'ai servi de porte au toit qui fut le nôtre.—
L'autre dit:—Aux beaux jours,
La table où rit l'ivresse et que le vin encombre.
C'était moi.—L'autre dit:—J'étais le chevet sombre
Du lit de tes amours.
Among all the poems which follow, some exquisite in their mystic tenderness as the elegiac stanzas on Claire and the appealing address to a friend unknown (À celle qui est voilée), others possessed with the same faith and wrestling with the same questions as beset and sustained the writer of the poem at which we have just rapidly and reverently glanced, there are three at least which demand—at any rate one passing word of homage. The solemn song of meditation "at the window by night" seems to me to render in its first six lines the aspects and sounds of sea and cloud and wind and trees and stars with an utterly incomparable magic of interpretation.
Les étoiles, points d'or, percent les branches noires;
Le flot huileux et lourd décompose ses moires
Sur l'océan blêmi;
Les nuages ont l'air d'oiseaux prenant la fuite;
Par moments le vent parle, et dit des mots sans suite,
Comme un homme endormi.
No poet but one could have written the three stanzas, so full of infinite sweetness and awe, inscribed "to the angels who see us."
—Passant, qu'es-tu? je te connais.
Mais, étant spectre, ombre et nuage,
Tu n'as plus de sexe ni d'âge.
—Je suis ta mère, et je venais!
—Et toi dont l'aile hésite et brille,
Dont l'œil est noyé de douceur,
Qu'es-tu, passant?—Je suis ta sœur.
—Et toi, qu'es-tu?—Je suis ta fille.
—Et toi, qu'es-tu, passant?—Je suis
Celle à qui tu disais: Je t'aime!
—Et toi?—Je suis ton âme même.—
Oh! cachez-moi, profondes nuits!/
Nor could any other hand have achieved the pathetic perfection of the verses in which just thirty years since, twelve years to a day after the loss of his daughter, and fifteen years to a day before the return of liberty which made possible the return of Victor Hugo to France, his claims to the rest into which he now has entered, and his reasons for desiring the attainment of that rest, found utterance unexcelled for divine and deep simplicity by any utterance of man on earth.