But Anatole France fools sex without stint. It affords him, just as it did Voltaire and Rabelais, his finest opportunities. He fools it up hill and down dale. He shakes it, he trundles it, he rattles it, he bangs it, he thumps it, he tumbles it in the mud, in the sand, in the earth—just as Diogenes did with his most noble tub. Fooling sex is the grand game of Anatole France's classic wit. The sport never wearies him. It seems an eternal perennial entertainment. Hardly one of his books but has this sex fooling as its principal theme.
It seems to his detached and speculative mind the most amusing and irresistible jest in the world that men and women should behave as they do; that matters should be arranged in just this manner.
What we arrive at once more in Anatole France is that humorous drawing back from the world, back into some high pitched observation-tower of the mind, from the philosophic seclusion of which the world scene can be easily imagined as different from what it is. Nothing is more salutary in the midst of the mad confusion of the world than these retirements. It is to no mere "ivory tower" of aesthetic superiority that we retreat. It is to a much higher and more spacious eminence. So high indeed do we withdraw that all the ivory towers of the world seem far beneath us; beneath us, and not more or less sacred than other secular erections.
It is from this point of observation that our humour is suddenly made aware of the startling absurdity of human institution; and not only of human institution; for it is made aware also of the absurdity of the whole fantastic scheme of this portentous universe. We regard the world in these high speculative moods much as children do when they suddenly enquire of their bewildered parents why it is that human beings have two legs and why it is that little girls are different from little boys.
It is one result of these withdrawings to the translunar empyrean that the life of a man of action upon this earth does not appear any more or any less remarkable or important than the life of a man of letters. All human activities from that celestial height are equal; and whether we plunge into politics or into pleasure, into science or into theology, seems a mere incidental chance, as indifferent in the great uncaring solar system as the movements of gnats around a lamp or midges around a candle.
The great historic revolutions, the great social reformations, ancient or modern, present themselves from this height as just as important—as just as unimportant—as the visions of saintly fanatics or the amours of besotted rakes.
Nothing is important and anything may be important. It is all a matter of the human point of view. It is all a matter of taste. Looking at the whole mad stream of things from this altitude, we see the world as if we were peering through an inverted telescope; or rather, shall we say, through an instrument called an "equi-scope"—whose peculiarity it is to make all things upon which it is turned little and equal.
The mental temper of Anatole France is essentially one which is interested in historic and contemporary events; interested in the outward actions and movements of men and in the fluctuations of political life. But it is interested in these things with a certain spacious reservation. It is interested in them simply because they are there, simply because they illustrate so ironically the weaknesses and caprices of human nature and the dramatic chances of ineluctable fate. It is not interested in them because they are inherently and absolutely important, but because they are important relatively and humorously as indicative of the absurd lengths to which human folly will go. It is interested in these things, as I have said, with an ample reservation, but it must emphatically be noted that it is a great deal more interested in them than in any works of art or letters or in any achievement of philosophy.
Anatole France seems indeed to take a certain delight in putting human thought into its place as essentially secondary and subordinate to human will. He delights to indicate, just as Montaigne used to do, the pathetic and laughable discrepancies between human thoughts and human actions.
He is more concerned with men and women as they actually live and move in the commerce of the world than in the wayward play of their speculative fancies, and it gives him an ironic satisfaction to show how the most heroic and ideal thoughts are affected by the little wanton tricks of circumstances and character.