Studies in Literature

by John Morley

The whole scene (ii. 206-219) is a masterpiece of dramatic strength, sustention, and flexibility—only equalled by the dramatic vivacity of the scene in which Cimourdain, sitting as judge, orders the prisoner to be brought forward, to his horror sees Gauvain instead of Lantenac, and then proceeds to condemn the man whom he loves best on earth to be taken to the guillotine.

* * * * *

The tragedy of the story, its sombre tone, the overhanging presence of death in it, are prevented from being oppressive to us by the variety of minor situation and subordinate character with which the writer has surrounded the central figures. No writer living is so consummate a master of landscape, and besides the forest we here have an elaborate sea-piece, full of the weird, ineffable, menacing suggestion of the sea in some of her unnumbered moods; and there is a scene of late twilight on a high solitary down over the bay of Mont Saint-Michel, to which a reader blessed with sensibility to the subtler impressions of landscape will turn again and again, as one visits again and again some actual prospect where the eye procures for the inner sense a dream of beauty and the incommensurable. Perhaps the palm for exquisite workmanship will be popularly given, and justly given, to the episode humorously headed The Massacre of Saint Bartholomew, at the opening of the third volume. It is the story of three little children, barely out of infancy, awaking, playing, eating, wondering, slumbering, in solitude through a summer day in an old tower. As a rule the attempt to make infancy interesting in literature ends in maudlin failure. But at length the painters have found an equal, or more than an equal, in an artist whose medium lends itself less easily than colour and form to the reproduction of the beauty and life of childhood. In his poetry Victor Hugo had already shown his passing sensibility to the pathos of the beginnings of our life; witness such pieces as Chose vue un Jour de Printemps, Les Pauvres Gens, the well-known pieces in L'Année Terrible, and a hundred other lively touches and fragments of finished loveliness and penetrating sympathy. In prose it is a more difficult feat to collect the trivial details which make up the life of the tiny human animal into a whole that shall be impressive, finished, and beautiful. And prose can only describe by details enumerated one by one. This most arduous feat is accomplished in the children's summer day in the tower, and with enchanting success. Intensely realistic, yet the picture overflows with emotion—not the emotion of the mother, but of the poet. There is infinite tenderness, pathos, love, but all heightened at once and strengthened by the self-control of masculine force. A man writing about little ones seems able to place himself outside, and thus to gain more calmness and freedom of vision than the more passionate interest or yearning of women permits to them in this field of art. Not a detail is spared, yet the whole is full of delight and pity and humour. Only one lyric passage is allowed to poetise and accentuate the realism of the description. Georgette, some twenty months old, scrambles from her cradle and prattles to the sunbeam.

"What a bird says in its song, a child says in its prattle. 'Tis the same hymn; a hymn indistinct, lisping, profound. The child has what the bird has not, the sombre human destiny in front of it. Hence the sadness of men as they listen, mingling with the joy of the little one as it sings. The sublimest canticle to be heard on earth is the stammering of the human soul on the lips of infancy. That confused chirruping of a thought, that is as yet no more than an instinct, has in it one knows not what sort of artless appeal to the eternal justice; or is it a protest uttered on the threshold before entering in, a protest meek and poignant? This ignorance smiling at the Infinite compromises all creation in the lot that shall fall to the weak defenceless being. Ill, if it shall come, will be an abuse of confidence.

"The child's murmuring is more and is less than words; there are no notes, and yet it is a song; there are no syllables, and yet it is a language…. This poor stammering is a compound of what the child said when it was an angel, and of what it will say when it becomes a man. The cradle has a Yesterday as the grave has a Morrow; the Morrow and the Yesterday mingle in that strange cooing their twofold mystery…."

"Her lips smiled, her eyes smiled, the dimples in her cheeks smiled. There came forth in this smile a mysterious welcome of the morning. The soul has faith in the ray. The heavens were blue, warm was the air. The fragile creature, without knowing anything, or recognising anything, or understanding anything, softly floating in musings which are not thought, felt itself in safety in the midst of nature, among those good trees and that guileless greenery, in the pure and peaceful landscape, amid the rustle of nests, of flowing springs, of insects, of leaves, while over all there glowed the great innocency of the sun" (ii. 104).

As an eminent man has recently written about Wordsworth's most famous Ode, there may be some bad philosophy here, but there is assuredly some noble and touching poetry.

If the carelessness of infancy is caught with this perfection of finish, there is a tragic companion piece in the horror and gnawing anguish of the wretched woman from whom her young have been taken—her rescue from death, her fierce yearnings for them like the yearnings of a beast, her brute-like heedlessness of her life and her body in the cruel search.

And so the poet conducts us along the strange excursive windings of the life and passion of humanity. The same hand which draws such noble figures as Gauvain—and the real Lanjuinais of history was fully as heroic and as noble as the imaginary Gauvain of fiction—is equally skilful in drawing the wild Breton beggar who dwells underground among the branching tree-roots; and the monstrous Imânus, the barbarous retainer of the Lord of the Seven Forests; and Radoub, the serjeant from Paris, a man of hearty oaths, hideous, heroic, humoursome, of a bloody ingenuity in combat. And the same hand which described the silent sundown on the sandy shore of the bay, and the mysterious darkness of the forests, and the blameless play of the little ones, gives us the prodigious animation of the night surprise at Dôl, the furious conflict at La Tourgue, and, perhaps most powerful of all, the breaking loose of the gun on the deck of the Claymore. You may say that this is only melodrama; but if we turn to the actual events of '93, the melodrama of the romancer will seem tame compared with the melodrama of the faithful chronicler. And so long as the narrative of melodramatic action is filled with poetry and beauty, there is no reproach in uncommon situation, in intense passion, in magnanimous or subtle motives that are not of every day. Of Hugo's art we may say what Dr. Newman has said of something else: Such work is always open to criticism and it is always above it.

There is poetry and beauty, no doubt, in the common lives about us, if we look at them with imaginative and sympathetic eye, and we owe much to the art that reveals to us the tragedy of the parlour and the frockcoat, and analyses the bitterness and sorrow and high passion that may underlie a life of outer smoothness and decorum. Still, criticism cannot accept this as the final and exclusive limitation of imaginative work. Art is nothing if not catholic and many-sided, and it is certainly not exhausted by mere domestic possibilities. Goethe's fine and luminous feeling for practical life, which has given such depth of richness and wisdom to his best prose writing, fills us with a delightful sense of satisfaction and adequateness; and yet why should it not leave us with a mind eagerly open for the larger and more inventive romance, in which nature is clothed with some of that awe and might and silent contemplation of the puny destinies of man, that used to surround the conception of the supernatural? Victor Hugo seeks strong and extraordinary effects; he is a master of terrible image, profound emotion, audacious fancy; but then these are as real, as natural, as true to fact, as the fairest reproduction of the moral poverties and meannesses of the world. And let it be added that while he is without a rival in the dark mysterious heights of imaginative effect, he is equally a master in strokes of tenderness and the most delicate human sympathy. His last book seems to contain pieces that surpass every other book of Hugo's in the latter range of qualities, and not to fall at all short in the former. And so, in the words of the man of genius who last wrote on Victor Hugo in these pages,[1] "As we pity ourselves for the loss of poems and pictures which have perished, and left of Sappho but a fragment and of Zeuxis but a name, so are we inclined to pity the dead who died too soon to enjoy the great works we have enjoyed. At each new glory that 'swims into our ken,' we surely feel that it is something to have lived to see that too rise."