We may say all we choose about the inconsistency, the excess of preaching, the excess of prudence, in the character of Julie. It was said pungently enough by the wits of the time.[47] Nothing that could be said on all this affected the fact, that the women between 1760 and the Revolution were intoxicated by Rousseau's creation to such a pitch that they would pay any price for a glass out of which Rousseau had drunk, they would kiss a scrap of paper that contained a piece of his handwriting, and vow that no woman of true sensibility could hesitate to consecrate her life to him, if she were only certain to be rewarded by his attachment.[48] The booksellers were unable to meet the demand. The book was let out at the rate of twelve sous a volume, and the volume could not be detained beyond an hour. All classes shared the excitement, courtiers, soldiers, lawyers, and bourgeois.[49] Stories were told of fine ladies, dressed for the ball, who took the book up for half an hour until the time should come for starting; they read until midnight, and when informed that the carriage waited, answered not a word, and when reminded by and by that it was two o'clock, still read on, and then at four, having ordered the horses to be taken out of the carriage, disrobed, went to bed, and passed the remainder of the night in reading. In Germany the effect was just as astonishing. Kant only once in his life failed to take his afternoon walk, and this unexampled omission was due to the witchery of the New Heloïsa. Gallantry was succeeded by passion, expansion, exaltation; moods far more dangerous for society, as all enthusiasm is dangerous, but also far higher and pregnant with better hopes for character. To move the sympathetic faculties is the first step towards kindling all the other energies which make life wiser and more fruitful. It is especially worth noticing that nothing in the character of Julie concentrates this outburst of sympathy in subjective broodings. Julie is the representative of one recalled to the straight path by practical, wholesome, objective sympathy for others, not of one expiring in unsatisfied yearnings for the sympathy of others for herself, and in moonstruck subjective aspirations. The women who wept over her romance read in it the lesson of duty, not of whimpering introspection. The danger lay in the mischievous intellectual direction which Rousseau imparted to this effusion.
The stir which the Julie communicated to the affections in so many ways, marked progress, but in all the elements of reason she was the most perilous of reactionaries. So hard it is with the human mind, constituted as it is, to march forward a space further to the light, without making some fresh swerve obliquely towards old darkness. The great effusion of natural sentiment was in the air before the New Heloïsa appeared, to condense and turn it into definite channels. One beautiful character, Vauven argues (1715-1747), had begun to teach the culture of emotional instinct in some sayings of exquisite sweetness and moderation, as that "Great thoughts come from the heart." But he came too soon, and, alas for us all, he died young, and he made no mark. Moderation never can make a mark in the epochs when men are beginning to feel the urgent spirit of a new time. Diderot strove with more powerful efforts, in the midst of all his herculean labours for the acquisition and ordering of knowledge, in the same direction towards the great outer world of nature, and towards the great inner world of nature in the human breast. His criticisms on the paintings of each year, mediocre as the paintings were, are admirable even now for their richness and freshness. If Diderot had been endowed with emotional tenacity, as he was with tenacity of understanding and of purpose, the student of the eighteenth century would probably have been spared the not perfectly agreeable task of threading a way along the sinuosities of the character and work of Rousseau. But Rousseau had what Diderot lacked—sustained ecstatic moods, and fervid trances; his literary gesture was so commanding, his apparel so glistening, his voice so rich in long-drawn notes of plangent vibration. His words are the words of a prophet; a prophet, it is understood, who had lived in Paris, and belonged to the eighteenth century, and wrote in French instead of Hebrew. The mischief of his work lay in this, that he raised feeling, now passionate, now quietest, into the supreme place which it was to occupy alone, and not on an equal throne and in equal alliance with understanding. Instead of supplementing reason, he placed emotion as its substitute. And he made this evil doctrine come from the lips of a fictitious character, who stimulated fancy and fascinated imagination. Voltaire laughed at the baisers âcres of Madame de Wolmar, and declared that a criticism of the Marquis of Ximénès had crushed the wretched romance.[50] But Madame de Wolmar was so far from crushed, that she turned the flood of feeling which her own charms, passion, remorse, and conversion had raised, in a direction that Voltaire abhorred, and abhorred in vain.
It is after the marriage of Julie to Wolmar that the action of the story takes the turn which sensible men like Voltaire found laughable. Saint Preux is absent with Admiral Anson for some years. On his return to Europe he is speedily invited by the sage Wolmar, who knows his past history perfectly well, to pay them a visit. They all meet with leapings on the neck and hearty kisses, the unprejudiced Wolmar preserving an open, serene, and smiling air. He takes his young friend to a chamber, which is to be reserved for him and for him only. In a few days he takes an opportunity of visiting some distant property, leaving his wife and Saint Preux together, with the sublime of magnanimity. At the same time he confides to Claire his intention of entrusting to Saint Preux the education of his children. All goes perfectly well, and the household presents a picture of contentment, prosperity, moderation, affection, and evenly diffused happiness, which in spite of the disagreeableness of the situation is even now extremely charming. There is only one cloud. Julie is devoured by a source of hidden chagrin. Her husband, "so sage, so reasonable, so far from every kind of vice, so little under the influence of human passions, is without the only belief that makes virtue precious, and in the innocence of an irreproachable life he carries at the bottom of his heart the frightful peace of the wicked."[51] He is an atheist. Julie is now a pietest, locking herself for hours in her chambers, spending days in self-examination and prayer, constantly reading the pages of the good Fénelon.[52] "I fear," she writes to Saint Preux, "that you do not gain all you might from religion in the conduct of your life, and that philosophic pride disdains the simplicity of the Christian. You believe prayers to be of scanty service. That is not, you know, the doctrine of Saint Paul, nor what our Church professes. We are free, it is true, but we are ignorant, feeble, prone to ill. And whence should light and force come, if not from him who is their very well-spring?... Let us be humble, to be sage; let us see our weakness, and we shall be strong."[53] This was the opening of the deistical reaction; it was thus, associated with everything that struck imagination and moved the sentiment of his readers, that Rousseau brought back those sophistical conclusions which Pascal had drawn from premisses of dark profound truth, and that enervating displacement of reason by celestial contemplation, which Fénelon had once made beautiful by the persuasion of virtuous example. He was justified in saying, as he afterwards did, that there was nothing in the Savoyard Vicar's Profession of Faith which was not to be found in the letters of Julie. These were the effective preparations for that more famous manifesto; they surrounded belief with all the attractions of an interesting and sympathetic preacher, and set it to a harmony of circumstance that touched softer fibres.
For, curiously enough, while the first half of the romance is a scene of disorderly passion, the second is the glorification of the family. A modern writer of genius has inveighed with whimsical bitterness against the character of Wolmar,—supposed, we may notice in passing, to be partially drawn from D'Holbach,—a man performing so long an experiment on these two souls, with the terrible curiosity of a surgeon engaged in vivisection.[54] It was, however, much less difficult for contemporaries than it is for us to accept so unwholesome and prurient a situation. They forgot all the evil that was in it, in the charm of the account of Wolmar's active, peaceful, frugal, sunny household. The influence of this was immense.[55] It may be that the overstrained scene where Saint Preux waits for Julie in her room, suggested the far lovelier passage of Faust in the chamber of the hapless Margaret. But we may, at least, be sure that Werther (1774) would not have found Charlotte cutting bread and butter, if Saint Preux had not gone to see Julie take cream and cakes with her children and her female servants. And perhaps the other and nobler Charlotte of the Wahlverwandtschaften (1809) would not have detained us so long with her moss hut, her terrace, her park prospect, if Julie had not had her elysium, where the sweet freshness of the air, the cool shadows, the shining verdure, flowers diffusing fragrance and colour, water running with soft whisper, and the song of a thousand birds, reminded the returned traveller of Tinian and Juan Fernandez. There is an animation, a variety, an accuracy, a realistic brightness in this picture, which will always make it enchanting, even to those who cannot make their way through any other letter in the New Heloïsa.[56] Such qualities place it as an idyllic piece far above such pieces in Goethe's two famous romances. They have a clearness and spontaneous freshness which are not among the bountiful gifts of Goethe. There are other admirable landscapes in the New Heloïsa, though not too many of them, and the minute and careful way in which Rousseau made their features real to himself, is accidentally shown in his urgent prayer for exactitude in the engraving of the striking scene where Saint Preux and Julie visit the monuments of their old love for one another.[57] "I have traversed all Rousseau's ground with the Heloïsa before me," said Byron, "and am struck to a degree I cannot express, with the force and accuracy of his descriptions and the beauty of their reality."[58] They were memories made true by long dreaming, by endless brooding. The painter lived with these scenes ever present to the inner eye. They were his real world, of which the tamer world of meadow and woodland actually around him only gave suggestion. He thought of the green steeps, the rocks, the mountain pines, the waters of the lake, "the populous solitude of bees and birds," as of some divine presence, too sublime for personality. And they were always benign, standing in relief with the malignity or folly of the hurtful insect, Man. He was never a manichæan towards nature. To him she was all good and bounteous. The demon forces that so fascinated Byron were to Rousseau invisible. These were the compositions that presently inspired the landscapes of Paul and Virginia (1788), of Atala and René (1801), and of Obermann (1804), as well as those punier imitators who resemble their masters as the hymns of a methodist negro resemble the psalms of David. They were the outcome of eager and spontaneous feeling for nature, and not the mere hackneyed common-form and inflated description of the literary pastoral.[59]
This leads to another great and important distinction to be drawn between Rousseau and the school whom in other respects he inspired. The admirable Sainte Beuve perplexes one by his strange remark, that the union of the poetry of the family and the hearth with the poetry of nature is essentially wanting to Rousseau.[60] It only shows that the great critic had for the moment forgotten the whole of the second part of the New Heloïsa, and his failure to identify Cowper's allusion to the matinée à l'anglaise certainly proves that he had at any rate forgotten one of the most striking and delicious scenes of the hearth in French literature.[61] The tendency to read Rousseau only in the Byronic sense is one of those foregone conclusions which are constantly tempting the critic to travel out of his record. Rousseau assuredly had a Byronic side, but he is just as often a Cowper done into splendid prose. His pictures are full of social animation and domestic order. He had exalted the simplicity of the savage state in his Discourses, but when he came to constitute an ideal life, he found it in a household that was more, and not less, systematically disciplined than those of the common society around him. The paradise in which his Julie moved with Wolmar and Saint Preux, was no more and no less than an establishment of the best kind of the rural middle-class, frugal, decorous, wholesome, tranquilly austere. No most sentimental savage could have found it endurable, or could himself without profound transformation of his manners have been endured in it. The New Heloïsa ends by exalting respectability, and putting the spirit of insurrection to shame. Self-control, not revolt, is its last word.
This is what separates Rousseau here and throughout from Sénancour, Byron, and the rest. He consummates the triumph of will, while their reigning mood is grave or reckless protest against impotence of will, the little worth of common aims, the fretting triviality of common rules. Franklin or Cobbett might have gloried in the regularity of Madame de Wolmar's establishment. The employment of the day was marked out with precision. By artful adjustment of pursuits, it was contrived that the men-servants should be kept apart from the maid-servants, except at their repasts. The women, namely, a cook, a housemaid, and a nurse, found their pastime in rambles with their mistress and her children, and lived mainly with them. The men were amused by games for which their master made regulated provision, now for summer, now for winter, offering prizes of a useful kind for prowess and adroitness. Often on a Sunday night all the household met in an ample chamber, and passed the evening in dancing. When Saint Preux inquired whether this was not a rather singular infraction of puritan rule, Julie wisely answered that pure morality is so loaded with severe duties, that if you add to them the further burden of indifferent forms, it must always be at the cost of the essential.[62] The servants were taken from the country, never from the town. They entered the household young, were gradually trained, and never went away except to establish themselves.
The vulgar and obvious criticism on all this is that it is utopian, that such households do not generally exist, because neither masters nor servants possess the qualities needed to maintain these relations of unbroken order and friendliness. Perhaps not; and masters and servants will be more and more removed from the possession of such qualities, and their relations further distant from such order and friendliness, if writers cease to press the beauty and serviceableness of a domesticity that is at present only possible in a few rare cases, or to insist on the ugliness, the waste of peace, the deterioration of character, that are the results of our present system. Undoubtedly it is much easier for Rousseau to draw his picture of semi-patriarchal felicity, than for the rest of us to realise it. It was his function to press ideals of sweeter life on his contemporaries, and they may be counted fortunate in having a writer who could fulfil this function with Rousseau's peculiar force of masterly persuasion. His scornful diatribes against the domestic police of great houses, and the essential inhumanity of the ordinary household relations, are both excellent and of permanent interest. There is the full breath of a new humaneness in them. They were the right way of attacking the decrepitude of feudal luxury and insolence, and its imitation among the great farmers-general. This criticism of the conditions of domestic service marks a beginning of true democracy, as distinguished from the mere pulverisation of aristocracy. It rests on the claim of the common people to an equal consideration, as equally useful and equally capable of virtue and vice; and it implies the essential priority of social over political reform.
The story abounds in sumptuary detail. The table partakes of the general plenty, but this plenty is not ruinous. The senses are gratified without daintiness. The food is common, but excellent of its kind. The service is simple, yet exquisite. All that is mere show, all that depends on vulgar opinion, all fine and elaborate dishes whose value comes of their rarity, and whose names you must know before finding any goodness in them, are banished without recall. Even in such delicacies as they permit themselves, our friends abstain every day from certain things which are reserved for feasts on special occasions, and which are thus made more delightful without being more costly. What do you suppose these delicacies are? Rare game, or fish from the sea, or dainties from abroad? Better than all that; some delicious vegetable of the district, one of the savoury things that grow in our garden, some fish from the lake dressed in a peculiar way, some cheese from our mountains. The service is modest and rustic, but clean and smiling. Neither gold-laced liveries in sight of which you die of hunger, nor tall crystals laden with flowers for your only dessert, here take the place of honest dishes. Here people have not the art of nourishing the stomach through the eyes, but they know how to add grace to good cheer, to eat heartily without inconvenience, to drink merrily without losing reason, to sit long at table without weariness, and always to rise from it without disgust.[63]
One singularity in this ideal household was the avoidance of those middle exchanges between production and consumption, which enrich the shopkeeper but impoverish his customers. Not one of these exchanges is made without loss, and the multiplication of these losses would weaken even a man of fortune. Wolmar seeks those real exchanges in which the convenience of each party to the bargain serves as profit for both. Thus the wool is sent to the factories, from which they receive cloth in exchange; wine, oil, and bread are produced in the house; the butcher pays himself in live cattle; the grocer receives grain in return for his goods; the wages of the labourers and the house-servants are derived from the produce of the land which they render valuable.[64] It was reserved for Fourier, Cabet, and the rest, to carry to its highest point this confusion of what is so fascinating in a book with what is practicable in society.
The expatiation on the loveliness of a well-ordered interior may strike the impatient modern as somewhat long, and the movement as very slow, just as people complain of the same things in Goethe's Wahlverwandtschaften. Such complaint only proves inability, which is or is not justifiable, to seize the spirit of the writer. The expatiation was long and the movement slow, because Rousseau was full of his thoughts; they were a deep and glowing part of himself, and did not merely skim swiftly and lightly through his mind. Anybody who takes the trouble may find out the difference between this expression of long mental brooding, and a merely elaborated diction.[65] The length is an essential part of the matter. The whole work is the reflection of a series of slow inner processes, the many careful weavings of a lonely and miserable man's dreams. And Julie expressed the spirit and the joy of these dreams when she wrote, "People are only happy before they are happy. Man, so eager and so feeble, made to desire all and obtain little, has received from heaven a consoling force which brings all that he desires close to him, which subjects it to his imagination, which makes it sensible and present before him, which delivers it over to him. The land of chimera is the only one in this world that is worth dwelling in, and such is the nothingness of the human lot, that except the being who exists in and by himself, there is nothing beautiful except that which does not exist."[66]