Among My Books. First Series

by James Russell Lowell

When Petrarch returned from his journey into the North of Europe in 1332, he balanced the books of his unrequited passion, and, finding that he had now been in love seven years, thought the time had at last come to call deliberately on Death. Had Death taken him at his word, he would have protested that he was only in fun. For we find him always taking good care of an excellent constitution, avoiding the plague with commendable assiduity, and in the very year when he declares it absolutely essential to his peace of mind to die for good and all, taking refuge in the fortress of Capranica, from a wholesome dread of having his throat cut by robbers. There is such a difference between dying in a sonnet with a cambric handkerchief at one's eyes, and the prosaic reality of demise certified in the parish register! Practically it is inconvenient to be dead. Among other things, it puts an end to the manufacture of sonnets. But there seems to have been an excellent understanding between Petrarch and Death, for he was brought to that grisly monarch's door so often, that, otherwise, nothing short of a miracle or the nine lives of that animal whom love also makes lyrical could have saved him. "I consent," he cries, "to live and die in Africa among its serpents, upon Caucasus, or Atlas, if, while I live, to breathe a pure air, and after my death a little corner of earth where to bestow my body, may be allowed me. This is all I ask, but this I cannot obtain. Doomed always to wander, and to be a stranger everywhere, O Fortune, Fortune, fix me at last to some one spot! I do not covet thy favors. Let me enjoy a tranquil poverty, let me pass in this retreat the few days that remain to me!" The pathetic stop of Petrarch's poetical organ was one he could pull out at pleasure,—and indeed we soon learn to distrust literary tears, as the cheap subterfuge for want of real feeling with natures of this quality. Solitude with him was but the pseudonyme of notoriety. Poverty was the archdeaconry of Parma, with other ecclesiastical pickings. During his retreat at Vaucluse, in the very height of that divine sonneteering love of Laura, of that sensitive purity which called Avignon Babylon, and rebuked the sinfulness of Clement, he was himself begetting that kind of children which we spell with a b. We believe that, if Messer Francesco had been present when the woman was taken in adultery, he would have flung the first stone without the slightest feeling of inconsistency, nay, with a sublime sense of virtue. The truth is, that it made very little difference to him what sort of proper sentiment he expressed, provided he could do it elegantly and with unction.

Would any one feel the difference between his faint abstractions and the Platonism of a powerful nature fitted alike for the withdrawal of ideal contemplation and for breasting the storms of life,—would any one know how wide a depth divides a noble friendship based on sympathy of pursuit and aspiration, on that mutual help which souls capable of self-sustainment are the readiest to give or to take, and a simulated passion, true neither to the spiritual nor the sensual part of man,—let him compare the sonnets of Petrarch with those which Michel Angelo addressed to Vittoria Colonna. In them the airiest pinnacles of sentiment and speculation are buttressed with solid mason-work of thought, and of an actual, not fancied experience, and the depth of feeling is measured by the sobriety and reserve of expression, while in Petrarch's all ingenuousness is frittered away into ingenuity. Both are cold, but the coldness of the one is self-restraint, while the other chills with pretence of warmth. In Michel Angelo's, you feel the great architect; in Petrarch's the artist who can best realize his conception in the limits of a cherry-stone. And yet this man influenced literature longer and more widely than almost any other in modern times. So great is the charm of elegance, so unreal is the larger part of what is written!

Certainly I do not mean to say that a work of art should be looked at by the light of the artist's biography, or measured by our standard of his character. Nor do I reckon what was genuine in Petrarch—his love of letters, his refinement, his skill in the superficial graces of language, that rhetorical art by which the music of words supplants their meaning, and the verse moulds the thought instead of being plastic to it—after any such fashion. I have no ambition for that character of valet de chambre which is said to disenchant the most heroic figures into mere every-day personages, for it implies a mean soul no less than a servile condition. But we have a right to demand a certain amount of reality, however small, in the emotion of a man who makes it his business to endeavor at exciting our own. We have a privilege of nature to shiver before a painted flame, how cunningly soever the colors be laid on. Yet our love of minute biographical detail, our desire to make ourselves spies upon the men of the past, seems so much of an instinct in us, that we must look for the spring of it in human nature, and that somewhat deeper than mere curiosity or love of gossip. It should seem to arise from what must be considered on the whole a creditable feeling, namely, that we value character more than any amount of talent,—the skill to be something, above that of doing anything but the best of its kind. The highest creative genius, and that only, is privileged from arrest by this personality, for there the thing produced is altogether disengaged from the producer. But in natures incapable of this escape from themselves, the author is inevitably mixed with his work, and we have a feeling that the amount of his sterling character is the security for the notes he issues. Especially we feel so when truth to self, which is always self-forgetful, and not truth to nature, makes an essential part of the value of what is offered us; as where a man undertakes to narrate personal experience or to enforce a dogma. This is particularly true as respects sentimentalists, because of their intrusive self-consciousness; for there is no more universal characteristic of human nature than the instinct of men to apologize to themselves for themselves, and to justify personal failings by generalizing them into universal laws. A man would be the keenest devil's advocate against himself, were it not that he has always taken a retaining fee for the defence; for we think that the indirect and mostly unconscious pleas in abatement which we read between the lines in the works of many authors are oftener written to set themselves right in their own eyes than in those of the world. And in the real life of the sentimentalist it is the same. He is under the wretched necessity of keeping up, at least in public, the character he has assumed, till he at last reaches that last shift of bankrupt self-respect, to play the hypocrite with himself. Lamartine, after passing round the hat in Europe and America, takes to his bed from wounded pride when the French Senate votes him a subsidy, and sheds tears of humiliation. Ideally, he resents it; in practical coin, he will accept the shame without a wry face.

George Sand, speaking of Rousseau's "Confessions," says that an autobiographer always makes himself the hero of his own novel, and cannot help idealizing, even if he would. But the weak point of all sentimentalists is that they always have been, and always continue under every conceivable circumstance to be, their own ideals, whether they are writing their own lives or no. Rousseau opens his book with the statement: "I am not made like any of those I have seen; I venture to believe myself unlike any that exists. If I am not worth more, at least I am different." O exquisite cunning of self-flattery! It is this very imagined difference that makes us worth more in our own foolish sight. For while all men are apt to think, or to persuade themselves that they think, all other men their accomplices in vice or weakness, they are not difficult of belief that they are singular in any quality or talent on which they hug themselves. More than this; people who are truly original are the last to find it out, for the moment we become conscious of a virtue it has left us or is getting ready to go. Originality does not consist in a fidgety assertion of selfhood, but in the faculty of getting rid of it altogether, that the truer genius of the man, which commerces with universal nature and with other souls through a common sympathy with that, may take all his powers wholly to itself,—and the truly original man could no more be jealous of his peculiar gift, than the grass could take credit to itself for being green. What is the reason that all children are geniuses, (though they contrive so soon to outgrow that dangerous quality,) except that they never cross-examine themselves on the subject? The moment that process begins, their speech loses its gift of unexpectedness, and they become as tediously impertinent as the rest of us.

If there never was any one like him, if he constituted a genus in himself, to what end write confessions in which no other human being could ever be in a condition to take the least possible interest? All men are interested in Montaigne in proportion as all men find more of themselves in him, and all men see but one image in the glass which the greatest of poets holds up to nature, an image which at once startles and charms them with its familiarity. Fabulists always endow their animals with the passions and desires of men. But if an ox could dictate his confessions, what glimmer of understanding should we find in those bovine confidences, unless on some theory of pre existence, some blank misgiving of a creature moving about in worlds not realized? The truth is, that we recognize the common humanity of Rousseau in the very weakness that betrayed him into this conceit of himself; we find he is just like the rest of us in this very assumption of essential difference, for among all animals man is the only one who tries to pass for more than he is, and so involves himself in the condemnation of seeming less.

But it would be sheer waste of time to hunt Rousseau through all his doublings of inconsistency, and run him to earth in every new paradox. His first two books attacked, one of them literature, and the other society. But this did not prevent him from being diligent with his pen, nor from availing himself of his credit with persons who enjoyed all the advantages of that inequality whose evils he had so pointedly exposed. Indeed, it is curious how little practical communism there has been, how few professors it has had who would not have gained by a general dividend. It is perhaps no frantic effort of generosity in a philosopher with ten crowns in his pocket when he offers to make common stock with a neighbor who has ten thousand of yearly income, nor is it an uncommon thing to see such theories knocked clean out of a man's head by the descent of a thumping legacy. But, consistent or not, Rousseau remains permanently interesting as the highest and most perfect type of the sentimentalist of genius. His was perhaps the acutest mind that was ever mated with an organization so diseased, the brain most far-reaching in speculation that ever kept itself steady and worked out its problems amid such disordered tumult of the nerves.[166] His letter to the Archbishop of Paris, admirable for its lucid power and soberness of tone, and his Rousseau juge de Jean Jacques, which no man can read and believe him to have been sane, show him to us in his strength and weakness, and give us a more charitable, let us hope therefore a truer, notion of him than his own apology for himself. That he was a man of genius appears unmistakably in his impressibility by the deeper meaning of the epoch in which he lived. Before an eruption, clouds steeped through and through with electric life gather over the crater, as if in sympathy and expectation. As the mountain heaves and cracks, these vapory masses are seamed with fire, as if they felt and answered the dumb agony that is struggling for utterance below. Just such flashes of eager sympathetic fire break continually from the cloudy volumes of Rousseau, the result at once and the warning of that convulsion of which Paris was to be the crater and all Europe to feel the spasm. There are symptoms enough elsewhere of that want of faith in the existing order which made the Revolution inevitable,—even so shallow an observer as Horace Walpole could forebode it so early as 1765,—but Rousseau more than all others is the unconscious expression of the groping after something radically new, the instinct for a change that should be organic and pervade every fibre of the social and political body. Freedom of thought owes far more to the jester Voltaire, who also had his solid kernel of earnest, than to the sombre Genevese, whose earnestness is of the deadly kind. Yet, for good or evil, the latter was the father of modern democracy, and with out him our Declaration of Independence would have wanted some of those sentences in which the immemorial longings of the poor and the dreams of solitary enthusiasts were at last affirmed as axioms in the manifesto of a nation, so that all the world might hear.

Though Rousseau, like many other fanatics, had a remarkable vein of common sense in him, (witness his remarks on duelling, on landscape-gardening, on French poetry, and much of his thought on education,) we cannot trace many practical results to his teaching, least of all in politics. For the great difficulty with his system, if system it may be called, is, that, while it professes to follow nature, it not only assumes as a starting-point that the individual man may be made over again, but proceeds to the conclusion that man himself, that human nature, must be made over again, and governments remodelled on a purely theoretic basis. But when something like an experiment in this direction was made in 1789, not only did it fail as regarded man in general, but even as regards the particular variety of man that inhabited France. The Revolution accomplished many changes, and beneficent ones, yet it left France peopled, not by a new race without traditions, but by Frenchmen. Still, there could not but be a wonderful force in the words of a man who, above all others, had the secret of making abstractions glow with his own fervor; and his ideas—dispersed now in the atmosphere of thought—have influenced, perhaps still continue to influence, speculative minds, which prefer swift and sure generalization to hesitating and doubtful experience.

Rousseau has, in one respect, been utterly misrepresented and misunderstood. Even Châteaubriand most unfilially classes him and Voltaire together. It appears to me that the inmost core of his being was religious. Had he remained in the Catholic Church he might have been a saint. Had he come earlier, he might have founded an order. His was precisely the nature on which religious enthusiasm takes the strongest hold,—a temperament which finds a sensuous delight in spiritual things, and satisfies its craving for excitement with celestial debauch. He had not the iron temper of a great reformer and organizer like Knox, who, true Scotchman that he was, found a way to weld this world and the other together in a cast-iron creed; but he had as much as any man ever had that gift of a great preacher to make the oratorical fervor which persuades himself while it lasts into the abiding conviction of his hearers. That very persuasion of his that the soul could remain pure while the life was corrupt, is not unexampled among men who have left holier names than he. His "Confessions," also, would assign him to that class with whom the religious sentiment is strong, and the moral nature weak. They are apt to believe that they may, as special pleaders say, confess and avoid. Hawthorne has admirably illustrated this in the penance of Mr. Dimmesdale. With all the soil that is upon Rousseau, I cannot help looking on him as one capable beyond any in his generation of being divinely possessed; and if it happened otherwise, when we remember the much that hindered and the little that helped in a life and time like his, we shall be much readier to pity than to condemn. It was his very fitness for being something better that makes him able to shock us so with what in too many respects he unhappily was. Less gifted, he had been less hardly judged. More than any other of the sentimentalists, except possibly Sterne, he had in him a staple of sincerity. Compared with Châteaubriand, he is honesty, compared with Lamartine, he is manliness itself. His nearest congener in our own tongue is Cowper.

In the whole school there is a sickly taint. The strongest mark which Rousseau has left upon literature is a sensibility to the picturesque in Nature, not with Nature as a strengthener and consoler, a wholesome tonic for a mind ill at ease with itself, but with Nature as a kind of feminine echo to the mood, flattering it with sympathy rather than correcting it with rebuke or lifting it away from its unmanly depression, as in the wholesomer fellow-feeling of Wordsworth. They seek in her an accessary, and not a reproof. It is less a sympathy with Nature than a sympathy with ourselves as we compel her to reflect us. It is solitude, Nature for her estrangement from man, not for her companionship with him,—it is desolation and ruin, Nature as she has triumphed over man,—with which this order of mind seeks communion and in which it finds solace. It is with the hostile and destructive power of matter, and not with the spirit of life and renewal that dwells in it, that they ally themselves. And in human character it is the same. St. Preux, René, Werther, Manfred, Quasimodo, they are all anomalies, distortions, ruins,—so much easier is it to caricature life from our own sickly conception of it, than to paint it in its noble simplicity; so much cheaper is unreality than truth.

Every man is conscious that he leads two lives,—the one trivial and ordinary, the other sacred and recluse; one which he carries to society and the dinner-table, the other in which his youth and aspiration survive for him, and which is a confidence between himself and God. Both may be equally sincere, and there need be no contradiction between them, any more than in a healthy man between soul and body. If the higher life be real and earnest, its result, whether in literature or affairs, will be real and earnest too. But no man can produce great things who is not thoroughly sincere in dealing with himself, who would not exchange the finest show for the poorest reality, who does not so love his work that he is not only glad to give himself for it, but finds rather a gain than a sacrifice in the surrender. The sentimentalist does not think of what he does so much as of what the world will think of what he does. He translates should into would, looks upon the spheres of duty and beauty as alien to each other, and can never learn how life rounds itself to a noble completeness between these two opposite but mutually sustaining poles of what we long for and what we must.