The second of these features is common to all moments of crisis. Months in the Revolution count as years, and this furnishes our excuse for giving as a biography so short a space in a man’s life. But it is just so to do. In every history a group of years at the most, sometimes a year alone, is the time to be studied day by day. In comparison with the intense purpose of a moment whole centuries are sometimes colourless.
Thus in the political history of the English thirteenth century, the little space from the Provisions of Oxford to the battle of Evesham is everything; in the study of England’s breach with the Continental tradition, the period between the Ridolphi plot and the Armada; in the formation of the English oligarchy, the crisis of April to December 1688.
This second feature, the necessity for concentration, would excuse a special insistence on the two years of Danton’s prominence, even if his youth were better known. The two conditions combined make imperative such a treatment as I have attempted to follow.
As to authorities, three men claim my especial gratitude, for the work in this book is merely a rearrangement of the materials they have collected. They are Dr. Bougeart, who is dead (and his clear Republicanism brought upon him exile and persecution); M. Aulard, the greatest of our living writers on the Revolutionary period; and Dr. Robinet, to whose personal kindness, interest, and fruitful suggestion I largely owe this book. The keeper of the Carnavalet has been throughout his long and laborious life the patient biographer of Danton, and little can now be added to the research which has been the constant occupation of a just and eminent career.
We must hope, in spite of his great age, to have from his hands some further work; for he is one of those many men who have given to the modern historical school of France, amid all our modern verbiage and compromise, the strength of a voice that speaks the simple truth.
DANTON
A STUDY
This Portrait is presumably a David, both from its style and from the fact that it is the companion picture to that of Madame Danton which is certainly by that master. Its date is either the Autumn of 1792 or possibly early 1793. It is mentioned by Madame Chapin, Danton’s sister-in-law, in a letter which she writes during the Empire to the two boys, Danton’s sons: she says “I am sending you the portrait of your Father ... it has been retouched ... the coat especially has been made dark-blue, as that is the colour he ordinarily wore. Madame Dupin,” (Danton’s second wife) “has just seen it and calls it a striking likeness.” Both this letter and the picture are in the possession of Dʳ Robinet, to whom they were given by Danton’s grand-daughter & by whose permission this portrait is reproduced.