The metre, the picturesqueness, the melodiousness, and the concision which distinguish such verse were something quite new in French poetry.
It seemed at first as if the principle of authority had received new and powerful support from the re-engrafting of the traditions of Christianity and monarchy upon literature. But it soon became evident that religious and literary tradition could not thrive together. The former at first took refuge under the wings, in the very bosom of the latter, but the inherent antagonism soon revealed itself, and the principle of authority in its literary shape was set aside, nay, overthrown by the new spirit, which had all the appearance of sincerely desiring to uphold the practical, that is to say, the politico-religious principle of authority.
We have now to see how the practical principle of authority came to share the fate of the theoretical, the literary principle.[1]
[1] Victor Hugo, Odes et Ballades; Cromwell; A. de Vigny, Poésies complètes; Émile Deschamps, Poésies; Antony Deschamps, Poésies; Raynouard, Les Templiers.
[XII]
DISSOLUTION OF THE PRACTICAL PRINCIPLE OF AUTHORITY
On a dark, foggy day in February 1854, a little company of friends followed the remains of one of France's most notable men to a Paris cemetery. The procession made its way between two ranks of soldiers, who were there not to show honour, but to preserve order, to the "common trench." Such had been the will of the deceased. When the earth had been thrown on the coffin, the grave-digger asked: "Is there no cross?" "No," was the answer.
No monument shows where that dead man was laid, though his name was known throughout Europe, and there is no cross upon his grave, though he had been an abbé and a priest, in fact for a long period the most notable champion of the church. It was Lamennais who by his own wish was buried thus.