We see, then, in nature, destitute of reason, only a sister who, more fortunate than ourselves, has remained under the maternal roof, while in the intoxication of our freedom we have fled from it to throw ourselves into a stranger world. We regret this place of safety, we earnestly long to come back to it as soon as we have begun to feel the bitter side of civilization, and in the totally artificial life in which we are exiled we hear in deep emotion the voice of our mother. While we were still only children of nature we were happy, we were perfect: we have become free, and we have lost both advantages. Hence a twofold and very unequal longing for nature: the longing for happiness and the longing for the perfection that prevails there. Man, as a sensuous being, deplores sensibly the loss of the former of these goods; it is only the moral man who can be afflicted at the loss of the other.
Therefore, let the man with a sensible heart and a loving nature question himself closely. Is it your indolence that longs for its repose, or your wounded moral sense that longs for its harmony? Ask yourself well, when, disgusted with the artifices, offended by the abuses that you discover in social life, you feel yourself attracted towards inanimate nature, in the midst of solitude ask yourself what impels you to fly the world. Is it the privation from which you suffer, its loads, its troubles? or is it the moral anarchy, the caprice, the disorder that prevail there? Your heart ought to plunge into these troubles with joy, and to find in them the compensation in the liberty of which they are the consequence. You can, I admit, propose as your aim, in a distant future, the calm and the happiness of nature; but only that sort of happiness which is the reward of your dignity. Thus, then, let there be no more complaint about the loads of life, the inequality of conditions, or the hampering of social relations, or the uncertainty of possession, ingratitude, oppression, and persecution. You must submit to all these evils of civilization with a free resignation; it is the natural condition of good, par excellence, of the only good, and you ought to respect it under this head. In all these evils you ought only to deplore what is morally evil in them, and you must do so not with cowardly tears only. Rather watch to remain pure yourself in the midst of these impurities, free amidst this slavery, constant with yourself in the midst of these capricious changes, a faithful observer of the law amidst this anarchy. Be not frightened at the disorder that is without you, but at the disorder which is within; aspire after unity, but seek it not in uniformity; aspire after repose, but through equilibrium, and not by suspending the action of your faculties. This nature which you envy in the being destitute of reason deserves no esteem: it is not worth a wish. You have passed beyond it; it ought to remain for ever behind you. The ladder that carried you having given way under your foot, the only thing for you to do is to seize again on the moral law freely, with a free consciousness, a free will, or else to roll down, hopeless of safety, into a bottomless abyss.
But when you have consoled yourself for having lost the happiness of nature, let its perfection be a model to your heart. If you can issue from the circle in which art keeps you enclosed and find nature again, if it shows itself to you in its greatness and in its calm, in its simple beauty, in its childlike innocence and simplicity, oh! then pause before its image, cultivate this feeling lovingly. It is worthy of you, and of what is noblest in man. Let it no more come into your mind to change with it; rather embrace it, absorb it into your being, and try to associate the infinite advantage it has over you with that infinite prerogative that is peculiar to you, and let the divine issue from this sublime union. Let nature breathe around you like a lovely idyl, where far from artifice and its wanderings you may always find yourself again, where you may go to draw fresh courage, a new confidence, to resume your course, and kindle again in your heart the flame of the ideal, so readily extinguished amidst the tempests of life.
If we think of that beautiful nature which surrounded the ancient Greeks, if we remember how intimately that people, under its blessed sky, could live with that free nature; how their mode of imagining, and of feeling, and their manners, approached far nearer than ours to the simplicity of nature, how faithfully the works of their poets express this; we must necessarily remark, as a strange fact, that so few traces are met among them of that sentimental interest that we moderns ever take in the scenes of nature and in natural characters. I admit that the Greeks are superiorly exact and faithful in their descriptions of nature. They reproduce their details with care, but we see that they take no more interest in them and more heart in them than in describing a vestment, a shield, armor, a piece of furniture, or any production of the mechanical arts. In their love for the object it seems that they make no difference between what exists in itself and what owes its existence to art, to the human will. It seems that nature interests their minds and their curiosity more than moral feeling. They do not attach themselves to it with that depth of feeling, with that gentle melancholy, that characterize the moderns. Nay, more, by personifying nature in its particular phenomena, by deifying it, by representing its effects as the acts of free being, they take from it that character of calm necessity which is precisely what makes it so attractive to us. Their impatient imagination only traverses nature to pass beyond it to the drama of human life. It only takes pleasure in the spectacle of what is living and free; it requires characters, acts, the accidents of fortune and of manners; and whilst it happens with us, at least in certain moral dispositions, to curse our prerogative, this free will, which exposes us to so many combats with ourselves, to so many anxieties and errors, and to wish to exchange it for the condition of beings destitute of reason, for that fatal existence that no longer admits of any choice, but which is so calm in its uniformity;—while we do this, the Greeks, on the contrary, only have their imagination occupied in retracing human nature in the inanimate world, and in giving to the will an influence where blind necessity rules.
Whence can arise this difference between the spirit of the ancients and the modern spirit? How comes it that, being, for all that relates to nature, incomparably below the ancients, we are superior to them precisely on this point, that we render a more complete homage to nature; that we have a closer attachment to it; and that we are capable of embracing even the inanimate world with the most ardent sensibility. It is because nature, in our time, is no longer in man, and that we no longer encounter it in its primitive truth, except out of humanity, in the inanimate world. It is not because we are more conformable to nature—quite the contrary; it is because in our social relations, in our mode of existence, in our manners, we are in opposition with nature. This is what leads us, when the instinct of truth and of simplicity is awakened—this instinct which, like the moral aptitude from which it proceeds, lives incorruptible and indelible in every human heart—to procure for it in the physical world the satisfaction which there is no hope of finding in the moral order. This is the reason why the feeling that attaches us to nature is connected so closely with that which makes us regret our infancy, forever flown, and our primitive innocence. Our childhood is all that remains of nature in humanity, such as civilization has made it, of untouched, unmutilated nature. It is, therefore, not wonderful, when we meet out of us the impress of nature, that we are always brought back to the idea of our childhood.
It was quite different with the Greeks in antiquity. Civilization with them did not degenerate, nor was it carried to such an excess that it was necessary to break with nature. The entire structure of their social life reposed on feelings, and not on a factitious conception, on a work of art. Their very theology was the inspiration of a simple spirit, the fruit of a joyous imagination, and not like the ecclesiastical dogmas of modern nations, subtle combinations of the understanding. Since, therefore, the Greeks had not lost sight of nature in humanity, they had no reason, when meeting it out of man, to be surprised at their discovery, and they would not feel very imperiously the need of objects in which nature could be retraced. In accord with themselves, happy in feeling themselves men, they would of necessity keep to humanity as to what was greatest to them, and they must needs try to make all the rest approach it; while we, who are not in accord with ourselves—we who are discontented with the experience we have made of our humanity—have no more pressing interest than to fly out of it and to remove from our sight a so ill-fashioned form. The feeling of which we are treating here is, therefore, not that which was known by the ancients; it approaches far more nearly that which we ourselves experience for the ancients. The ancients felt naturally; we, on our part, feel what is natural. It was certainly a very different inspiration that filled the soul of Homer, when he depicted his divine cowherd[[12]] giving hospitality to Ulysses, from that which agitated the soul of the young Werther at the moment when he read the “Odyssey”[[13]] on issuing from an assembly in which he had only found tedium. The feeling we experience for nature resembles that of a sick man for health.
As soon as nature gradually vanishes from human life—that is, in proportion as it ceases to be experienced as a subject (active and passive)—we see it dawn and increase in the poetical world in the guise of an idea and as an object. The people who have carried farthest the want of nature, and at the same time the reflections on that matter, must needs have been the people who at the same time were most struck with this phenomenon of the simple, and gave it a name. If I am not mistaken, this people was the French. But the feeling of the simple, and the interest we take in it, must naturally go much farther back, and it dates from the time when the moral sense and the æsthetical sense began to be corrupt. This modification in the manner of feeling is exceedingly striking in Euripides, for example, if compared with his predecessors, especially Æschylus; and yet Euripides was the favorite poet of his time. The same revolution is perceptible in the ancient historians. Horace, the poet of a cultivated and corrupt epoch, praises, under the shady groves of Tibur, the calm and happiness of the country, and he might be termed the true founder of this sentimental poetry, of which he has remained the unsurpassed model. In Propertius, Virgil, and others, we find also traces of this mode of feeling; less of it is found in Ovid, who would have required for that more abundance of heart, and who in his exile at Tomes sorrowfully regrets the happiness that Horace so readily dispensed with in his villa at Tibur.
It is in the fundamental idea of poetry that the poet is everywhere the guardian of nature. When he can no longer entirely fill this part, and has already in himself suffered the deleterious influence of arbitrary and factitious forms, or has had to struggle against this influence, he presents himself as the witness of nature and as its avenger. The poet will, therefore, be the expression of nature itself, or his part will be to seek it, if men have lost sight of it. Hence arise two kinds of poetry, which embrace and exhaust the entire field of poetry. All poets—I mean those who are really so—will belong, according to the time when they flourish, according to the accidental circumstances that have influenced their education generally, and the different dispositions of mind through which they pass, will belong, I say, to the order of the sentimental poetry or to simple poetry.
The poet of a young world, simple and inspired, as also the poet who at an epoch of artificial civilization approaches nearest to the primitive bards, is austere and prudish, like the virginal Diana in her forests. Wholly unconfiding, he hides himself from the heart that seeks him, from the desire that wishes to embrace him. It is not rare for the dry truth with which he treats his subject to resemble insensibility. The whole object possesses him, and to reach his heart it does not suffice, as with metals of little value, to stir up the surface; as with pure gold, you must go down to the lowest depths. Like the Deity behind this universe, the simple poet hides himself behind his work; he is himself his work, and his work is himself. A man must be no longer worthy of the work, nor understand it, or be tired of it, to be even anxious to learn who is its author.
Such appears to us, for instance, Homer in antiquity, and Shakespeare among moderns: two natures infinitely different and separated in time by an abyss, but perfectly identical as to this trait of character. When, at a very youthful age, I became first acquainted with Shakespeare, I was displeased with his coldness, with his insensibility, which allows him to jest even in the most pathetic moments, to disturb the impression of the most harrowing scenes in “Hamlet,” in “King Lear,” and in “Macbeth,” etc., by mixing with them the buffooneries of a madman. I was revolted by his insensibility, which allowed him to pause sometimes at places where my sensibility would bid me hasten and bear me along, and which sometimes carried him away with indifference when my heart would be so happy to pause. Though I was accustomed, by the practice of modern poets, to seek at once the poet in his works, to meet his heart, to reflect with him in his theme—in a word, to see the object in the subject—I could not bear that the poet could in Shakespeare never be seized, that he would never give me an account of himself. For some years Shakespeare had been the object of my study and of all my respect before I had learned to love his personality. I was not yet able to comprehend nature at first hand. All that my eyes could bear was its image only, reflected by the understanding and arranged by rules: and on this score the sentimental poetry of the French, or that of the Germans of 1750 to 1780, was what suited me best. For the rest, I do not blush at this childish judgment: adult critics pronounced in that day in the same way, and carried their simplicity so far as to publish their decisions to the world.