In place of the firmness derived from hope and resignation, these unhappy sophists seek courage in desperation, and consolation in notoriety. With this key to the philosophy of the day, it is not difficult to read its influence on many a countenance that one meets among those who are lounging in listless laziness on the Boulevards or in the gardens of Paris.
The aspect of these figures is altogether unlike what we may too often see among those who linger, sunken, pale, and hopeless, on the benches of our parks, or loiter under porticos and colonnades, as if waiting for courage to beg. Hunger and intemperance often leave blended traces on such figures as these, exciting at once pity and disgust. I have encountered at Paris nothing like this: whether any such exist, I know not; but if they do, their beat is distant from the public walks and fashionable promenades. Instead of these, however, there is a race who seem to live there, less wretched perhaps in actual want of bread, but as evidently thriftless, homeless, and friendless as the other. On the faces of such, one may read a state of mind wholly different,—less degraded, but still more perverted;—a wild, bold eye, that rather seeks than turns from every passing glance—unshrinking hardihood, but founded more on indifference than endurance, and a scornful sneer for any who may suffer curiosity to conquer disgust, while they fix their eye for a moment upon a figure that looks in all ways as if got up to enact the hero of a melodrame. Were I the king, or the minister either, I should think it right to keep an eye of watchfulness upon all such picturesque individuals; for one might say most truly,
"Yon Cassius hath a lean and hungry look;
He thinks too much: such men are dangerous."
The friend to whom I addressed myself on the subject of these constantly-recurring suicides told me that there was great reason to believe that the increase of this crime, so remarkable during the last few years, might be almost wholly attributed to the "light literature," as it is called, of the period:—dark literature would be a fitter name for it.
The total absence of anything approaching to a virtuous principle of action in every fictitious character held up to admiration throughout all the tales and dramas of the décousu school, while every hint of religion is banished as if it were treason to allude to it, is in truth quite enough to account for every species of depravity in those who make such characters their study and their model. "How oft and by how many shall they be laughed to scorn!"—yet believing all the while, poor souls! that they are producing a sensation, and that the eyes of Europe are fixed upon them, notwithstanding they once worked as a tailor or a tinker, or at some other such unpoetical handiwork; for they may all be described in the words of Ecclesiasticus, with a very slight alteration,—"They would maintain the state of the world, and all their desire is in (forgetting) the work of their craft."
LETTER XXXVIII.
Opéra Comique.—"Cheval de Bronze."—"La Marquise."—Impossibility of playing Tragedy.—Mrs. Siddons's Readings.—Mademoiselle Mars has equal power.—Laisser aller of the Female Performers.—Decline of Theatrical Taste among the Fashionable.
The "Cheval de Bronze" being the spectacle par excellence at the Opéra Comique this season, we have considered it a matter of sight-seeing necessity to pay it a visit; and we have all agreed that it is as perfectly beautiful in its scenery and decorations as the size of the theatre would permit. We gazed upon it, indeed, with a perfection of contentment, which, in secret committee afterwards, we confessed did not say much in favour of our intellectual faculties.