[Footnote 1: Lecky, vi. 297.]
As to one disservice, however, there can be no doubt. The French Revolution has furnished the enemies of each successive proposal of reform with a boundless supply of prejudicial analogies, appalling parallels, and ugly nicknames, which are all just as conclusive with the unwise as if they were the aptest arguments. Sydney Smith might well put "the awful example of a neighbouring nation" among the standing topics of the Noodle's Oration. The abolition of rotten boroughs brought down a thousand ominous references to noyades, fusillades, and guillotines. When Sir Robert Peel took the duty off corn, Croker warned him with great solemnity that he was breaking up the old interests, dividing the great families, and beginning exactly such a castastrophe as did the Noailles and the Montmorencis in 1789. Cobden and Bright were promiscuously likened to Baboeuf, Chaumette, and Anacharsis Clootz. Baboeuf, it is true, was for dividing up all property, and Chaumette was an aggressive atheist; but these were mere nuances, not material to the purposes of obloquy. Robespierre, Danton, Marat have been mercilessly trotted forth in their sanguinary shrouds, and treated as the counterparts and precursors of worthies so obviously and exactly like them as Mr. Beales and Mr. Odger; while an innocent caucus for the registration of voters recalls to some well-known writers lurid visions of the Cordeliers and the Jacobin Club.
A recent addition has been made to the stock of nicknames drawn from the terrible melodrama of the last century. The Chancellor of the Exchequer at Dublin described the present very humble writer as "the Saint-Just of our Revolution." The description was received with lively applause. It would be indelicate to wonder how many in a hundred, even in that audience of the elect, had ever heard of Saint-Just, how many in five hundred could have spelt his name, and how many in a thousand could have told any three facts in his career. But let us muse for a moment upon the portrait. I take down the first picture of Saint-Just that comes to my hand, M. Taine is the artist:—
"Among these energetic nullities we see gradually rising a young monster—with face handsome and tranquil—Saint-Just! A sort of precocious Sulla, who at five-and-twenty suddenly springs from the ranks, and by force of atrocity wins his place! Six years before, he began life by an act of domestic robbery: while on a visit at his mother's, he ran away in the night with her plate and jewels; for that he was locked up for six months. On his release, he employed his leisure in the composition of an odious poem. Then he flung himself head foremost into the revolution. Blood calcined by study, a colossal pride, a conscience completely unhinged, an imagination haunted by the bloody recollections of Rome and Sparta, an intelligence falsified and twisted until it found itself most at its ease in the practice of enormous paradox, barefaced sophism, and murderous lying—all these perilous ingredients, mixed in a furnace of concentrated ambition, boiled and fermented long and silently in his breast."
It is, no doubt, hard to know ourselves. One may entertain demons unawares, and have calcined blood without being a bit the wiser. Still, I do not find the likeness striking. It would have done just as well to call me Nero, Torquemada, Iago, or Bluebeard.
Whether the present writer does or does not deserve all the compliments that history has paid to Saint-Just, is a very slight and trivial question, with which the public will naturally not much concern itself. But as some use is from time to time made of the writer's imputed delinquencies to prejudice an important cause, it is perhaps worth while to try in a page or two to give a better account of things. It is true that he has written on revolutionists like Robespierre, and destructive thinkers like Rousseau and Voltaire. It is true that he believes the two latter to have been on the whole, when all deductions are made, on the side of human progress. But what sort of foundation in this for the inference that he "finds his models in the heroes of the French Revolution," and "looks for his methods in the Reign of Terror"? It would be equally logical to infer that because I have written, not without sympathy and appreciation, of Joseph de Maistre, I therefore find my model in a hero of the Catholic Reaction, and look for my methods in the revived supremacy of the Holy See over all secular and temporal authorities. It would be just as fair to say that because I pointed out, as it was the critic's business to do, the many admirable merits, and the important moral influences on the society of that time, of the New Heloïsa, therefore I am bound to think Saint Preux a very fine fellow, particularly fit to be a model and a hero for young Ireland. Only on the principle that who drives fat oxen must himself be fat, can it be held that who writes on Danton must be himself in all circumstances a Dantonist.
The most insignificant of literary contributions have a history and an origin; and the history of these contributions is short and simple enough. Carlyle with all the force of his humoristic genius had impressed upon his generation an essentially one-sided view both of the eighteenth century as a whole, and of the French thinkers of that century in particular. His essay on Diderot, his lecture on Rousseau, his chapters on Voltaire, with all their brilliance, penetration, and incomparable satire, were the high-water mark in this country of the literary reaction against the French school of Revolution. Everybody knows the famous diatribes against the Bankrupt Century and all its men and all its works. Voltaire's furies, Diderot's indigestions, Rousseau's nauseous amours, and the odd tricks and shifts of the whole of them and their company, offered ready material for the boisterous horseplay of the transcendental humourist. Then the tide began to turn. Mr. Buckle's book on the history of civilisation had something to do with it. But it was the historical chapters in Comte's Positive Philosophy that first opened the minds of many of us, who, five-and-twenty years ago, were young men, to a very different judgment of the true place of those schools in the literary and social history of Western Europe. We learnt to perceive that though much in the thought and the lives of the literary precursors of the Revolution laid them fairly open to Carlyle's banter, yet banter was not all, and even grave condemnation was not all. In essays, like mine, written from this point of view, and with the object of trying to trim the balance rather more correctly, it may well have been that the better side of the thinkers concerned was sometimes unduly dwelt upon, and their worse side unduly left in the background. It may well have been that an impression of personal adhesion was conveyed which only very partially existed, or even where it did not exist at all: that is a risk of misinterpretation which it is always hard for the historical critic to escape. There may have been a too eager tone; but to be eager is not a very bad vice at any age under the critical forty. There were some needlessly aggressive passages, and some sallies which ought to have been avoided, because they gave pain to good people. There was perhaps too much of the particular excitement of the time. It was the date when Essays and Reviews was still thought a terrible explosive; when Bishop Colenso's arithmetical tests as to the flocks and herds of the children of Israel were believed to be sapping not only the inspiration of the Pentateuch but the foundations of the Faith and the Church; and when Darwin's scientific speculations were shaking the civilised world. Some excitement was to be pardoned in days like those, and I am quite sure that one side needed pardon at least as much as the other. For the substantial soundness of the general views winch I took of the French revolutionary thinkers at that time, I feel no apprehension; nor—some possible occasional phrases or sentences excepted and apart—do I see the smallest reason to shrink or to depart from any one of them. So far as one particular reference may serve to illustrate the tenour of the whole body of criticism, the following lines, which close my chapter on the "Encyclopaedia," will answer the purpose as well as any others, and I shall perhaps be excused for transcribing them:—
"An urgent social task lay before France and before Europe: it could not be postponed until the thinkers had worked out a scheme of philosophic completeness. The thinkers did not seriously make any effort after this completeness. The Encyclopaedia was the most serious attempt, and it did not wholly fail. As I replace in my shelves this mountain of volumes, 'dusky and huge, enlarging on the sight,' I have a presentiment that their pages will seldom again be disturbed by me or by others. They served a great purpose a hundred years ago. They are now a monumental ruin, clothed with all the profuse associations of history. It is no Ozymandias of Egypt, king of kings, whose wrecked shape of stone and sterile memories we contemplate. We think rather of the grey and crumbling walls of an ancient stronghold, reared by the endeavour of stout hands and faithful, whence in its own day and generation a band once went forth against barbarous hordes, to strike a blow for humanity and truth."[1]
[Footnote 1: Diderot, i. 247.]
It is gratifying to find that the same view of the work of these famous men, and of its relation to the social necessities of the time, commends itself to Mr. Lecky, who has since gone diligently and with a candid mind over the same ground.[1] Then where is the literary Jacobin?