If one were to retort upon this that anybody with a true sense of poetry would sacrifice all the plays that Voltaire ever wrote, his eight-and-twenty tragedies, and half-score of comedies, for the soliloquy in Hamlet, or King Henry at Towton Fight, or ‘Roses, their sharp spines being gone,’ there would be truth in such a retort, but it would be that brutal truth, which is always very near being the most subtle kind of lie. Nature wrought a miracle for us by producing Shakespeare, as she did afterwards in an extremely different way for France by producing Voltaire. Miracles, however, have necessarily a very demoralising effect. A prodigy of loaves and fishes, by slackening the motives to honest industry, must in the end multiply paupers. The prodigy of such amazing results from such glorious carelessness as Shakespeare’s, has plunged hundreds of men of talent into a carelessness most inglorious, and made our acting stage a mock. It is quite true that the academic rule is better fitted for mediocrity than for genius; but we may perhaps trust genius to make a way for itself. It is mediocrity that needs laws and prescriptions for its most effective fertilisation, and the enormous majority even of those who can do good work are still mediocre. We have preferred the methods of lawless genius, and are left with rampant lawlessness and no genius. The very essence of the old French tragedy was painstaking, and painstaking has had its unfailing and exceeding great reward. When people whose taste has been trained in the traditions of romantic and naturalistic art, or even not trained at all except in indolence and presumption, yawn over the French alexandrines, let them remember that Goethe at any rate thought it worth while to translate Mahomet and Tancrède.
An eminent German writer on Voltaire has recently declared the secret of the French classic dramaturgy to be that the drama was a diversion of the court. ‘The personages have to speak not as befits their true feelings, their character, and the situation, but as is seemly in the presence of a king and a court; not truth, nature, and beauty, but etiquette, is the highest law of the dramatic art.’[113] This may partially explain how it was that a return to some features of the classic form, its dignity, elevation, and severity, came to take place in France, but no explanation can be at all satisfactory which reduces so distinct and genuine a manner of dramatic expression to a mere outside accident. Corneille, Racine, Voltaire, treated their tragic subjects as they did, with rigorous concentration of action, stately consistency of motive, and in a solemn and balanced measure, because these conditions answered to intellectual qualities of their own, an affinity in themselves for elegance, clearness, elevation, and a certain purified and weighty wisdom. It is true that they do not unseal those deep-hidden fountains of thought and feeling and music, which flow so freely at the waving of Shakespeare’s wand. We are not swiftly carried from a scene of clowns up to some sublime pinnacle of the seventh heaven, whence we see the dark abysses that lie about the path of human action, as well as all its sweet and shadowed places. Only let us not unjustly suppose that we are deciding the merits of the old French dramaturgy, its severe structure and stately measure, by answering the question, which no English nor German writer can ever seriously put, as to the relative depth and vision in poetic things of Shakespeare and Voltaire. Nor can we be expected to be deeply moved by a form of art that is so unfamiliar to us. It is not a question whether we ought to be so deeply moved. The too susceptible Marmontel describes how on the occasion of a visit to Ferney, Voltaire took him into his study and placed a manuscript into his hands. It was Tancrède, which was just finished. Marmontel eagerly read it, and he tells us how he returned to the author, his face all bathed in tears. ‘Your tears,’ said Voltaire, ‘tell me all that it most concerns me to know.’[114] The most supercilious critic may find this very Tancrède worth reading, when he remembers that Gibbon thought it splendid and interesting,[115] and that Goethe found it worth translating. One could hardly be convicted now of want of sensibility, if all Voltaire’s tragedy together failed to bathe one’s face in tears, but this is a very bad reason for denying that it has other merits than pathos.
We cannot, indeed, compare the author of Zaïre and Tancrède with the great author of Cinna and Polyeucte, any more than in another kind we can compare Gray with Milton. Voltaire is the very genius of correctness, elegance, and grace, and if the reader would know what this correctness means, he will find a most wholesome exercise in reading Voltiare’s notes on some of the most celebrated of Corneille’s plays.[116] But in masculine energy and in poetic weightiness, as well as in organ-like richness of music, Voltaire must be surely pronounced inferior to his superb predecessor. There is a certain thinness pervading the whole of his work for the stage, the conception of character, the dramatic structure, and the measure alike. Undoubtedly we may frequently come upon weighty and noble lines, of fine music and lofty sense. But there is on the whole what strikes one as a fatal excess of facility, and a fatal defect of poetic saliency. The fluent ease of the verse destroys the impression of strength. ‘Your friend,’ wrote Madame du Châtelet once of her friend, ‘has had a slight bout of illness, and you know that when he is ill, he can do nothing but write verses.’[117] We do not know whether the Marquise meant alexandrines, or those graceful verses of society of which Voltaire was so incomparable a master. It is certain that he wrote Zaïre in three weeks and Olympic in six days, though with respect to the latter we may well agree with the friend who told the author that he should not have rested on the seventh day. However that may be, there is a quality about his tragic verse which to one fresh from the sonorous majesty and dignified beauty of Polyeucte, or even the fine gravity of Tartufe, vibrates too lightly in the ear. Least of all may we compare him to Racine, whose two great tragedies of Iphigénie and Athalie Voltaire himself declared to mark the nearest approach ever made to dramatic perfection.[118] There is none of the mixed austerity and tenderness, height and sweetness, grace and firmness, that blend together with such invisible art and unique contrivance in the poet whose verses taught Fénelon and Massillon how to make music in their prose. To this Voltaire could only have access from without, for he lacked the famous master’s internal depth, seriousness, and veneration of soul. We know how little this approach from without can avail, and how vainly a man follows the harmonious grace of a style, when he lacks the impalpable graces of spirit that made the style live. It is only when grave thoughts and benignant aspirations and purifying images move with even habit through the mind, that a man masters the noblest expression. De Maistre, to whom Voltaire’s name was the symbol for all that is accursed, admitted the nobleness of his work in tragedy, but he instantly took back the grudged praise by saying that even here he only resembles his two great rivals as a clever hypocrite resembles a saint.[119] Malignantly expressed, there is in this some truth.
It was one of the elements in the plan of dramatic reform that sprang up in Voltaire’s mind during his residence in England, that the subjects of tragedy should be more masculine, and that love should cease to be an obligatory ingredient. “It is nearly always the same piece, the same knot, formed by jealousy and a breach, and untied by a marriage; it is a perpetual coquetry, a simple comedy in which princes are actors, and in which occasionally blood is spilt for form’s sake.”[120] This he counted a mistake, for, as he justly said, the heart is but lightly touched by a lover’s woes, while it is profoundly softened by the anguish of a mother just about to lose her son. Thus in Mérope we have maternal sentiment made the spring of what is probably the best of Voltaire’s tragedies, abounding in a just vehemence, compact, full of feeling at once exalted and natural, and moving with a sustained energy that is not a too common mark of his work. It was the same conviction of the propriety of making tragedy a means of expressing other emotions than that which is so apt to degenerate into an insipidity, which dictated the composition and novel treatment of the Roman subjects, Brutus and La Mort de César. Here the French drama first became in some degree truly political. His predecessors when they handled a historic theme did so, not from the historic or social point of view, but as the illustration, or rather the suggestion, of some central human passion. In the Cinna of Corneille the political bearings, the moral of benevolent despotism which Bonaparte found in it, were purely incidental, and were distinctly subordinate to the portrayal of character and the movement of feeling. In Brutus the whole action lies in the region of great public affairs, and of the passions which these affairs stir in noble characters, without any admixture of purely private tenderness. In La Mort de César we are equally in the heroics of public action. Rome Sauvée, of which the subject is the conspiracy of Catiline, and the hero the most eloquent of consuls or men—a part that Voltaire was very fond of filling in private representations, and with distinguished success—is extremely loose and spasmodic in structure, and the speeches sound strained even when put into Cicero’s mouth. But here also private insipidities are banished, though perhaps it is only in favour of public insipidities. It is impossible to tell what share, if any, these plays had in spreading that curious feeling about Roman freedom and its most renowned defenders, which is so striking a feature in some of the great episodes of the Revolution. We cannot suspect Voltaire of any design to stir political feeling. He was now essentially aristocratic and courtly in his predilection, without the smallest active wish for an approach to political revolution, if indeed the conception of a change of that kind ever presented itself to him. He was indefatigable in admiring and praising English freedom, but, as has already been said, it was not the laudation of a lover of popular government, but the envy of a man of letters whose life was tormented by censors of the press and the lieutenant of police. Perhaps the only approach to a public purpose in this fancy for his Roman subjects was a lurking idea of arousing in the nobles, for whom we must remember that his dramatic work was above all designed, not a passion for freedom from the authority of monarchic government, but a passion of a more general kind for energetic patriotism. Voltaire’s letters abound with expressions of the writer’s belief that he was the witness of an epoch of decay in his own country. He had in truth far too keen and practical and trained an eye not to see how public spirit, political sagacity, national ambition, and even valour had declined in the great orders of France since the age of the Grand Monarch, and how much his country had fallen back in the race of civilisation and power. We should be guilty of a very transparent exaggeration of the facts, if any attempt were made to paint Voltaire in the attitude and colours of one transcendentally aspiring to regenerate his countrymen. But there is no difficulty in believing that a man who had lived in England, and knew so much of Prussia, should have seen the fatal enervation which had come upon France, and that with Voltaire’s feeling for the stage, he should have dreamt, by means of a more austere subject and more masculine treatment, of reviving the love of wisdom and glory and devotion in connection with country. In a word, the lesson of La Mort de César or of Brutus was not a specific admonition to slay tyrants, or to execute stern judgments on sons, but a general example of self-sacrificing patriotism and devoted public honour.
It is often said that Voltaire’s Romans are mere creatures of parade and declamation, like the figures of David’s paintings,[121] and it is very likely that the theatre infected the French people with that mischievous idea of the Romans, as a nation of declaimers about freedom and the death of tyrants. The true Roman was no doubt very much more like one of our narrow, hard, and able Scotchmen in India, than the lofty talkers who delighted the parterre of Paris or Versailles. Unluckily for truth of historical conception, Cicero was, after Virgil, the most potent of Roman memories, and a man of words became with modern writers the favourite type of a people of action. All this, however, is beside the question. Voltaire would have laughed at the idea of any obligation to present either Romans or other personages on the stage with realistic fidelity. The tragic drama with him was the highest of the imaginative and idealistic arts. If he had sought a parallel to it in the plastic arts he would have found one, not in painting, which by reason of the greater flexibility of its material demands a more exact verisimilitude, but in sculpture. Considered as statuesque figures endowed with speech, Brutus, Caesar, and the rest are noble and impressive. We may protest as vigorously as we know how against any assimilation of the great art of action with the great art of repose. But we can only criticise the individual productions of a given theory, provided we for the moment accept the conditions which the theory lays down. All art rests upon convention, and if we choose to repudiate any particular set of conventions, we have no more right to criticise the works of those who submit to them than one would have to criticise sculpture, because marble or bronze is not like flesh and blood. Within the conditions of the French classic drama Voltaire’s Romans are high and stately figures.
Voltaire’s innovations extended beyond the introduction of more masculine treatment. Before his time romantic subjects had been regarded with disfavour, and Corneille’s Bajazet was considered a bold experiment. Racine was more strictly classic, and dramatists went on handling the same ancient fables, ‘Thebes, or Pelops’ line, or the tale of ‘Troy divine,’ just as the Greeks had done, or just as the painters in the Catholic times had never wearied of painting the two eternal figures of human mother and divine child. Voltaire treated the classic subjects as others treated them, and if Œdipe misses the depth, delicate reserve and fateful gloom of the Greeks, Mérope at any rate breathes a fine and tragic spirit. But his restless mind pressed forward into subjects which Racine would have shuddered at, and every quarter of the universe became in turn a portion of the Voltairean stage. L’Orphelin de la Chine introduces us to China and Genghis-Khan, Mahomet to Arabia and its prophet, Tancrede to Sicily; in Zulime we are among Moors, in Alzire with Peruvians. This revolutionary enlargement of subject was significant of a general and very important enlargement of interest which marked the time, and led presently to those contrasts between the condition of France and the imaginary felicity and nobleness of wilder countries, which did so much to breed an irresistible longing for change. Voltaire’s high-minded Scythians, generous Peruvians, and the rest, prepared the way along with other influences for that curious cosmopolitanism, that striking eagerness to believe in the equal virtuousness and devotion inherent in human nature, independently of the religious or social form accidentally imposed upon them, which found its ultimate outcome, first in an ardent passion for social equality, and a depreciation of the special sanctity of the current religion, and next in the ill-fated emancipating and proselytising aims of the Revolution, and in orators of the human race.
It has usually been thought surprising that Voltaire, consummate wit as he was, should have been so markedly unsuccessful in comedy. Certainly no one with so right a sense of the value of time as Voltaire himself had, will in our day waste many hours over his productions in this order. There are a dozen of them more or less, and we can only hope that they were the most rapid of his writings. Lines of extraordinary vivacity are not wanting, and at their best they offer a certain bustling sprightliness that might have been diverting in actual representation. But the keynote seems to be struck in farce, rather than in comedy; the intrigue, if not quite as slight as in Molière, is too forced; and the characters are nearly all excessively mediocre in conception. In one of the comedies, Le Dépositaire, the poet presented the aged patroness of his youth, but the necessity of respecting current ideas of the becoming prevented him from making a great character out of even so striking a figure as Ninon de l’Enclos. La Prude is a version of Wycherly’s Plaindealer, and is in respect of force, animation, and the genuine spirit of comedy, very inferior to its admirable original. L’Indiscret is a sparkling and unconsidered trifle, L’Ecossaise is only a stinging attack on Fréron, and L’Enfant Prodigue, though greater pains were taken with it, has none of the glow of dramatic feeling. The liveliest of all is La Femme qui a Raison, a short comedy of situation, which for one reading is entertaining in the closet, and must be excellent on the stage. It is very slight, however, and as usual verges on farce.
This inferiority of Voltaire’s ought not to astonish any one who has reflected how much concentrated feeling and what profundity of vision go to the production of great comedy, and how in the mind of the dramatist, as in the movement of human life, comedy lies close to portentous tragedy. The author of the Bourgeois Gentilhomme and L’Avare was also the creator of the Misanthrope, that inscrutable piece, where, without plot, fable, or intrigue, we see a section of the polished life of the time, men and women paying visits, making and receiving compliments, discoursing upon affairs with easy lightness, flitting backwards and forwards with a thousand petty hurries, and among these one strange, rough, hoarse, half-sombre figure, moving solitarily with a chilling reality in the midst of frolicking shadows. Voltaire entered too eagerly into the interests of the world, was by temperament too exclusively sympathetic and receptive and social, to place himself even in imagination thus outside of the common circle. Without capacity for this, there is no comedy of the first order. Without serious consciousness of contrasts, no humour that endures. Shakespeare, Molière, and even Aristophanes, each of them unsurpassed writers of mere farce, were each of them, though with vast difference of degree, master of a tragic breadth of vision. Voltaire had moods of petulant spleen, but who feels that he ever saw, much less brooded over, the dark cavernous regions of human nature? Without this we may have brilliant pleasantry of surprise, inimitable caricature, excellent comedy of society, but of the veritable comedy of human character and life, nothing.
In dazzling and irresistible caricature Voltaire has no equal. There is no deep humour, as in Don Quixote, or Tristram Shandy, which Voltaire did not care for,[122] or Richter’s Siebenkäs, which he would not have cared for any more than De Stael did. He was too purely intellectual, too argumentative, too geometrical, and cared too much for illustrating a principle. But in Candide, Zadig, L’Ingénu, wit is as high as mere wit can go. They are better than Hudibras, because the motive is broader and more intellectual. Rapidity of play, infallible accuracy of stroke, perfect copiousness, and above all a fresh and unflagging spontaneity, combine with a surprising invention, to give these stories a singular quality, of which we most effectively observe the real brilliance, by comparing them with the too numerous imitations that their success has unhappily invited since.
It is impossible to omit from the most cursory study of Voltaire’s work, that too famous poem which was his favourite amusement during some of the best years of his life, which was the delight of all who could by any means get the high favour of sight or hearing of so much as a canto of it, and which is now always spoken of, when it happens to be spoken of at all, with extreme abhorrence.[123] The Pucelle offends two modern sentiments, the love of modesty, and the love of the heroic personages of history. The moral sense and the historic sense have both been sharpened in some respects since Voltaire, and a poem which not only abounds in immodesty, and centres the whole action in an indecency of conception, but also fastens this gross chaplet round the memory of a great deliverer of the poet’s own country, seems to offer a double outrage to an age when relish for licentious verse has gone out of fashion, and reverence for the heroic dead has come in. Still the fact that the greatest man of his time should have written one of the most unseemly poems that exist in any tongue, is worth trying to understand. Voltaire, let us remember, had no special turn, like Gibbon or Bayle, least of all like the unclean Swift, for extracting a malodorous diversion out of grossness or sensuality. His writings betray no irresistible passion for flying to an indelicacy, nor any of the vapid lasciviousness of some more modern French writers. The Pucelle is at least the wit of a rational man, and not the prying beastliness of a satyr. It is wit worse than poorly employed, but it is purity itself compared with some of the nameless abominations with which Diderot besmirched his imagination. The Persian Letters contain what we should now account passages of extreme licentiousness, yet Montesquieu was assuredly no libertine. Voltaire’s life again was never indecent or immoderate from the point of view of the manners of the time. A man of grave character and untarnished life, like Condorcet, did not scruple to defend a poem, in which it is hard for us to see anything but a most indecorous burlesque of a most heroic subject. He insists that books which divert the imagination without heating or seducing it, which by gay and pleasurable images fill up those moments of exhaustion that are useless alike for labour and meditation, have the effect of inclining men to gentleness and indulgence. “It was not such books as the Pucelle that Gérard or Clément used to read, or that the satellites of Cromwell carried at the saddle-bow.”[124]