Persons of reflection entertain great hopes from the violent shock given to men's minds by the revolution; from that silent inquietude still working in their hearts; from that sap, full of life, circulating with rapidity through this body politic. "The factions are muzzled," say they; "but the factious spirit still ferments under the curb of power; if means can be found to force it to evaporate on objects which belong to the domain of illusion and sensibility, the result will prove a great blessing to France, by carrying back to the arts and to literature, and even to commerce, that exuberance of heat and activity which can no longer be employed without danger on political subjects."
The same men, whom I have just pointed out, affirm that England herself will feel, in her literary and scientific system, a salutary concussion from the direction given here to the public mind. They expect with impatience that the British government will engage in some great measure of public utility, in order that the rivalship subsisting between the two nations on political and military points, which have no longer any object, may soon become, in France, the most active and most powerful vehicle for different parts of her interior improvement.
Of all kinds of literature, Epic Poetry is the only one in which France has not obtained such success as to place her on a level with TASSO and MILTON. To make amends, her poets have followed with advantage the steps of ARIOSTO, without being able to surpass him. From this school have issued two modern epic poems: La guerre des dieux payens contre les dieux chretiens, by PARNY and La conquête de Naples, by GUDIN. The former is distinguished by an easy versification, and an imagination jocose and fertile, though, certainly, far too licentious. Educated in the school of DORAT, he possesses his redundance and grace, without his fatuity. His elegies are worthy of TIBULLUS; and his fugitive pieces are at once dictated by wit and sentiment: thus it was that CHAULIEU wrote, but with more negligence. The latter has thought to compensate for the energy and grace that should give life to his subject (which he considers only in a playful and satirical light), by a truly tiresome multitude of incidents. Conceive three huge volumes in octavo, for a poem which required but one of a moderate size, and, in them, a versification frequently negligent. These are two serious faults, which the French will not readily overlook. No where are critics more severe, on the one hand, against redundance that is steril, and on the other, respecting the essential composition of verse, which ought always to flow with grace, even when under restraint. Catholicism, however, has no more reason to be pleased with the loose scenes presented in this work, than christianity, in general, has with the licentious pictures of PARNY; but GUDIN is far less dangerous to Rome, because he will be less read.
Several authors have devoted their labours to Tragedy, during the course of the revolution. CHÉNIER has produced a whole theatre, which will remain to posterity, notwithstanding his faults, as he has contrived to cover them with beauties. ARNAULT and MERCIER of Compiegne are two young authors that seem to have been educated in the school of DUCIS, who is at this day the father of all the present tragic writers. The pieces which they have produced have met with some success, and are of considerable promise.
Comedy lost a vigorous supporter under the tyranny of ROBESPIERRE. This was FABRE D'EGLANTINE. That poet seldom failed of success, drew none but bold characters, and placed himself, by his own merit, between MOLIÈRE and DESTOUCHES. COLIN D'HARLEVILLE and LEGOUVÉ produce agreeable pieces which succeed. They paint, with an easy and graceful pencil, the absurdities and humours of society; but their pieces are deficient in plot and action. FABRÉ D'EGLANTINE pourtrayed, in striking colours, those frightful vices which are beyond the reach of the law. His pieces are strongly woven and easily unravelled. PICARD seems to have taken GOLDONI, the celebrated Venetian comic writer, for his model. Like him, an excellent painter, a writer by impulse, he produces, with wonderful fecundity, a number of interesting comedies, which make the audience laugh till they shed tears, and how and then give great lessons. PALISSOT, CAILHAVA, and MERCIER are still living; but no longer produce any thing striking.
I shall say little of French eloquence. Under the new form of government, orators have less opportunity and less scope for displaying transscendant talents than during the first years of the revolution. Two members of the government, CAMBACÉRÈS and LEBRUN, have distinguished themselves in this career by close, logical argument, bright conceptions, and discriminating genius. BENJAMIN CONSTANT and GUINGUÉNÉ, members of the Tribunate, shewed themselves to advantage last year, as I understand, in some productions full of energy and wisdom. DEMEUNIER and BOISSI D'ANGLAS are already, in the Tribunate, veterans of eloquence; but the man who unites, in this respect, all the approbation of that body, and even of France, is DAUNOU. In exterior means he is deficient; but his thoughts proceed at once from a warm heart and an open mind, guided by a superior genius; and his expressions manifest the source from which they flow.
Several capital works of the historic kind have made their appearance in France within the last ten years; but, with the exception of those of celebrated voyagers or travellers, such as LA PÉROUSE, BAUDIN, SONNINI, LABILLARDIÈRE, OLIVIER, ANDRÉ MICHAUD, &c. those whose object has been to treat of the arts, sciences, and manners of Greece, such as the travels of Anacharsis, of Pythagoras, or of Antenor; those whose subject has not been confined to France, such as the Précis de l'histoire générale, by ANQUETIL; people ought to be on their guard against the merit even of productions written mediately or immediately on the revolution, its causes, and consequences. The passions are not yet sufficiently calmed for us not to suspect the spirit of party to interpose itself between men and truth. The most splendid talents are frequently in this line only the most faithless guide. It is affirmed, however, that there are a few works which recommend themselves, by the most philosophic impartiality; but none of these have as yet fallen under my observation. A striking production is expected from the pen of the celebrated VOLNEY. This is a Tableau Physique des États Unis; but it is with regret I hear that its appearance is delayed by the author's indisposition.
Novels are born and die here, as among us, with astonishing abundance. The rage for evocations and magic spectres begins to diminish. The French assert that they have borrowed it from us, and from the school of MRS. RADCLIFF, &c. &c. They also assert, that the policy of the royalist-party was not unconnected with this propagation of cavernous, cadaverous adventures, ideas, and illusions, intended, they say, by the impression of a new moral terror to infatuate their countrymen again with the dull and soporific prestiges of popery. They see with joy that the taste for pleasure has assumed the ascendency, at least in Paris, and that novels in the English style no longer make any one tremble, at night by the fireside, but the old beldams of the provincial departments.
The less important kinds of literature, such as the Apologue or Moral Fable, which is not at this day much in fashion; the Eclogue or Idyl, whose culture particularly belongs to agrestical and picturesque regions; Political Satire, which is never more refined than under the influence of arbitrary power; these kinds, to which I might add the Madrigal and Epigram, without being altogether abandoned, are not generally enough cultivated here to obtain special mention. I shall make an exception only in favour of the pastoral poems of LECLERC (of Marne and Loire) of which I have heard a very favourable account.
At the end of a revolution which has had periods so ensanguined, Romance, (romantic poetry) must have been cultivated and held in request. It has been so, especially by sentimental minds, and not a little too through the spirit of party; this was likely to be the case, since its most affecting characteristic is to mourn over tombs.