The next name on the list belongs to a far stronger, if a less accomplished, spirit than Lamartine. Félicité Robert de Lamennais was born in 1782, at St. Malo. In the confusion of the last decade of the eighteenth century, when, as a contemporary bears witness, even persons holding important state offices had often received no regular education whatever, Lamennais was for the most part his own teacher. He betook himself, however, to literature, and in 1807 was appointed to a mastership in the St. Malo Grammar School. Shortly afterwards he published a treatise on 'The Church during the Eighteenth Century,' and taking orders before long followed it up by others. These placed him in the forefront of the Catholic reaction, of which Chateaubriand from the picturesque, and Joseph de Maistre from the philosophical side, were the leaders. He took priest's orders in 1816, and in 1817 published his Essai sur l'Indifférence en Matière de Religion. This is a sweeping defence of the absolute authority of the Church, but the 'rift within the lute' already appears. Lamennais bases this authority, according to a tradition of that very eighteenth century which he most ardently opposes, on universal consent. Although therefore the deductive portion of his argument is in thorough accordance with Roman doctrine, the inductive portion can hardly be said to be so, and it prepared the way for his subsequent change of front. For a time Lamennais contented himself with the hope of establishing a sect of liberal royalist Catholics. A rapid succession of journals, most of which were suppressed, led to the Avenir, in which Montalembert, Lacordaire, and others took part, and which, like some English periodicals of a later period, aimed directly at the union of orthodox religious principles of the Roman complexion with political liberalism, and a certain freedom of thought in other directions. The Avenir was definitely censured by Gregory XVI. in 1832, and Lamennais rapidly fell away from his previous orthodoxy. He had established himself in the country with a following of youthful disciples. Of these the best-known now is Maurice de Guérin, a feeble poet who died young, but who, with his abler sister Eugénie, interested Sainte-Beuve, Mr. Matthew Arnold, and others. Les Paroles d'un Croyant, which appeared in 1834, united speculative Republicanism of the most advanced kind with a direct defiance of Rome in matter of religion, and this was followed by a long series of works in the same spirit. Lamennais' ardent and ill-balanced temperament, the chief note of which was the most excessive personal vanity, no sooner threw off the yoke of orthodoxy than it ran to the opposite extreme, and the Catholic royalist of the first empire became an atheistic, or at most theistic, democrat. Lamennais died in 1854. He had a great influence both on men and on books in France, and his literary work is extremely remarkable. It bears the marks of his insufficient education and of his excitable temperament. In the Paroles d'un Croyant the style is altogether apocalyptic in its mystic and broken declamation, full of colour, energy, and vague impressiveness, but entirely wanting in order, lucidity, and arrangement. The earlier works show something of this, though necessarily not so much. Lamennais' literary, as distinguished from his political and social, importance consists in the fact that he was practically the first to introduce this style into French. He has since had notable disciples, among whom Michelet and even Victor Hugo may be ranked.
Victor Cousin.
The contrast of the return from Lamennais to Cousin is almost as great as that of the change from Lamartine to Lamennais. The careers of the poet and the philosopher have indeed something in common, for Cousin's delicate, exquisite, and somewhat feminine prose style is a nearer analogue to the poetry of Lamartine even than the latter's own prose, and the sudden decline of Cousin's reputation in philosophy almost matches that of Lamartine's reputation as a poet. Victor Cousin was born in 1792, at Paris, and was one of the most brilliant pupils of the Lycée Charlemagne. He passed thence to the École Normale, and, in the year of the Restoration, became Assistant Professor to Royer Collard at the Sorbonne. He adopted vigorously the doctrines of that philosopher, which practically amounted to a translation of the Scottish school of Reid and Stewart, but he soon combined with them much that he borrowed from Kant and his successors in Germany. This latter country he visited twice; on the second occasion with the unpleasant result of an arrest. He soon returned to France, however, and became distinguished as a supporter of the liberal party. The years immediately before and after the July Revolution were Cousin's most successful time. His lectures were crowded, his eclecticism was novel and popular, and when after July itself he became officially powerful, he distinguished himself by patronising young men of genius. During the reign of Louis Philippe he was one of the most influential of men of letters, though curiously enough, he combined with his political liberalism a certain tendency to reaction in matters of pure literature. After 1848 he retired from public life, and, though he survived for nearly twenty years, produced little more in philosophy. His brilliant but patchy eclecticism had had its day, and he saw it; but he earned new and perhaps more lasting laurels by betaking himself to the study of French literary history, and producing some charming essays on the ladies of the Fronde. Cousin's history is interesting as an instance of the accidental prosperity which in the first half of this century the mixture of politics and literature brought to men of letters. But his own literary merits are very considerable. Without the freedom and originality of the great writers who were for the most part his juniors by ten or twenty years, he possessed a style studied from the best models of the seventeenth century, which, despite a certain artificiality, has great beauty. Besides editions of philosophical classics, the chief works of his earlier period are Fragments Philosophiques, 1827, Cours de l'Histoire de la Philosophie, 1827; of his later, Du Vrai, Du Beau et Du Bien, and his studies on the women of the seventeenth century.
Beyle.
The author now to be noticed has found little place hitherto in histories of literature, and estimates of his positive value are even yet much divided. Henri Beyle, who wrote under the name of De Stendhal, was born at Grenoble, in January, 1783. His family belonged to the middle class, though, unfortunately, Beyle allowed himself during the Empire to be called M. de Beyle, and incurred not a little ridicule in consequence. His literary alias was also, it may be noticed, arranged so as to claim nobility. He was a clever boy, but manifested no special predilection for any profession. At last he entered the army, and served in it (chiefly in the non-combatant branches) on some important occasions, including the campaigns of the St. Bernard, of Jena, and of Moscow. He also held some employments in the civil service of the Empire. At the Restoration he went to Italy, which was always his favourite place of residence; but when in 1821 political troubles began to arise, he was 'politely' expelled by the Austrian police. After this he lived chiefly in Paris, making part of his living by the unexpected function of contributing to the London New Monthly Magazine. He knew English well, admired our literature, and visited London more than once. Being, as far as he was a politician at all, a Bonapartist, he was not specially interested in the Revolution of 1830; but it was profitable to him, for through some of his friends he was appointed French consul, first at Trieste, and then (the Austrians objecting) at Civita Vecchia. He lived, however, chiefly at Rome, and travelled a good deal. Latterly his health was weak, and he died at Paris, in 1842, of apoplexy. He was buried at Montmartre; but, with his usual eccentricity, his epitaph was by his direction written in Italian, and he was described as a Milanese. Beyle's character, personal and literary, was very peculiar. In temperament, religious views, and social ideas he was a belated philosophe of the Diderot school. But in literature he had improved even on Diderot, and very nearly anticipated the full results of the Romantic movement, while in politics, as has been said, he was an imperialist. His works are pretty voluminous. They consist of novels (La Chartreuse de Parme, Armance, Le Rouge et le Noir, Mémoires d'un Touriste, etc.); of criticism (Histoire de la Peinture en Italie, Racine et Shakespeare, Mélanges); of biography (Lives of Napoleon, Haydn, Mozart, Metastasio, etc.); of topographical writing of a miscellaneous kind (Promenades dans Rome, Naples et Florence, etc.); and lastly, of a singular book entitled De l'Amour, which unites extraordinary acuteness and originality of thought with cynicism of expression and paradox of theory. In this book, and in his novels, Beyle made himself the ancestor of what has been called successively realism and naturalism in France. Perhaps, however, his most remarkable work was Mérimée, of whose family he was a friend, and who, far excelling him in merit of style if not in freshness of thought, learnt beyond all doubt from him his peculiar and half-affected cynicism of tone, his curious predilection for the apparently opposed literatures of England and Southern Europe, and not improbably also his imperialism. Beyle is a difficult author to judge briefly, the contradictions, affectations, and oddities in him demanding minute examination. Of his power, intrinsic and exerted on others, there is no doubt.
Nodier.
Delavigne.
Soumet.
The three remaining writers require shorter notice. Charles Nodier, who was born at Besançon in 1780, and died at Paris in 1844, is one of the most remarkable failures of a great genius in French literary history. He did almost everything—lexicography, text-editing, criticism, poetry, romance—and he did everything well, but perhaps nothing supremely well. If an exception be made to this verdict, it must be in favour of his short tales, some of which are exquisite, and all but, if not quite, masterpieces. As librarian of the Mazarin Library, Nodier was a kind of centre of the early Romantic circle, and, though he was more than twenty years older than most of its members, he identified himself thoroughly with their aims and objects. His consummate knowledge of the history and vocabulary of the French tongue probably had no mean influence on that conservative and restorative character which was one of the best sides of the movement. Casimir Delavigne was born at Havre in 1793. He first distinguished himself by his Messéniennes, a series of satires or patriotic jeremiads on the supposed degradation of France under the Restoration. Then he took to the stage, and produced successively Les Vêpres Siciliennes, Marino Faliero, Louis XI. (well known in England from the affection which several English tragic actors have shown for the title part), Les Enfants d'Edouard, etc. He also wrote other non-dramatic poems, most of them of a political character. Casimir Delavigne is a writer of little intrinsic worth. He held aloof from the Romantic movement, less from dislike to its extravagances and its cliquism, than from genuine weakness and inability to appreciate the defects of the classic tradition. He is in fact the direct successor of Ducis and Marie Joseph Chénier, having forgotten something, but learned little. The defects of his poems are parallel to those of his plays. His patriotism is conventional, his verse conventional, his expression conventional, though the convention is in all three cases slightly concealed by the skilful adoption of a certain outward colouring of energy and picturesqueness. He was not unpopular in his day, being patronised to a certain extent by the extreme classical party, and recommended to the public by his liberal political principles. But he is almost entirely obsolete already, and is never likely to recover more than the reputation due to fair literary workmanship in an inferior style. Alexandre Soumet was another dramatist of the same kind, but perhaps of a less artificial stamp. He adhered to the old model of drama, or to something like it, more, apparently, because it satisfied his requirements, than from abstract predilection for it, or from dislike to the new models. His Norma has the merit of having at least suggested the libretto of one of the most popular of modern operas, and his Une Fête sous Néron is not devoid of merit. Soumet was in the early days of the movement a kind of outsider in it, and it cannot be said that at any time he became an enemy, or that his work is conspicuous for any fatal defects according to the new method of criticism. A deficiency of initiative, rather than, as in Delavigne's case, a preference of inferior models, seems to have been the reason why he did not advance further.
The Romantic Propaganda in Periodicals.