"Nobody was allowed to be without an âme incomprise; it was the custom and we conformed to it. We were 'fatal' and 'accursed'; without even having tasted life, we tumbled to the bottom of the abyss of disillusionment. Children of eighteen years, repeating phrases gathered from some novel or other, would say: 'J'ai le cœur usé comme l'escalier d'une fille de joie,' and one of Pétrus Borel's heroes went to the executioner to say to him: 'I should like you to guillotine me!' This did not prevent us from laughing, singing, or committing the honest follies of youth; that was also a way of being desperate; we imagined that we had a satanic laugh, while we really possessed the fair joy of spring."
These exquisite sensibilities, when they were not turned back upon themselves in black despair, roamed far and wide in search of new sensations upon which to exercise themselves. This exotisme, as the French have called it, is another of the most marked symptoms of Romanticism. The time was ripe for its satisfaction. The French mind, shut for so long in the formalism of the eighteenth century, now found that there were innumerable new ways to rêver la rêve de la vie. The men of learning who followed in Napoleon's wake renewed the interest in archæology by their discoveries; the historical novels of Scott and the history of Michelet revealed the full and generous life of earlier ages; the forged poems of Ossian caused a perfect rage for Celtic mysticism; and the bold lawless life of the East, with its tyrannous Ali Pashas and its Greek patriots, shone out with a new splendour. An unsatisfied longing for another age and another clime animated every young breast. Societies even were formed in provincial towns in which subscriptions were pooled, and the winner of the lucky number drew the money to take a voyage in Italy. The glories of Greece and the grandeurs of Rome, as savouring of the classical, appealed only to a few; other eclectics fed upon German mysticism and the fantastic weirdness of Hoffmann's supernatural tales. A far greater number became Celts in imagination; dressed in the dignity of outlawry and the garb of an Irish bard or a Scotch chieftain, they defied the haughty English. Maxime du Camp, for instance, wrote a poem in his school-days called "Wistibrock l'Irlandais." "When I am depressed," he says in his reminiscences, "I read it again, and there is no vexation that resists it." Anybody who wishes to gain some idea of the genre frénétique, as Nodier called it, in its Celtic dress will derive considerable entertainment from Pétrus Borel's "Madame Putiphar." It is full of murders and intrigues and tirades which foam at the mouth. The hero, Patrick FitzWhyte, falls in love with Deborah Cockermouth, daughter of Lord and Lady Cockermouth, the opening dialogue of whom upon the battlements is magnificent. My lord, who is described as "one of those gigantic fungous and spongy zoophytes indigenous to Great Britain," permits himself to address my lady as "Saint-hearted milk soup!" After a good deal of clandestine philandering and interminable translations of imaginary Irish ballads the young couple elope to Paris, where Madame Putiphar (Madame de Pompadour) seduces the heroine, and the hero after a series of dreadful adventures is imprisoned in a loathsome dungeon in the Bastille, the taking of which by the people of Paris is described with quite astonishing force.
Wild adventures, horrors and tragedies in any age were fondly dwelt upon in comparison with the insupportable monotony of contemporary life; but the Middle Ages made a stronger appeal than any. There was a perfect mania for medievalism. Nothing pleased overwrought imaginations more than to picture existence amid all the riot and magnificence of those more spacious days. How they would have rattled a sword and clanked a spur, how defiantly tilted their plume, how breathlessly loved and how destructively fought! Why did they not live in the joyous time when every minute brought an adventure instead of spilling one more drop from the cup of ennui, and when a man shaped his own ends according to his passions, throwing a curse to the poor and a madrigal to the fair? Then, all their life was not grey. Splendour of colour with ample grace of form decked out existence like a picture by Veronese. Costly satin vied with magnificent brocade; all was a riot of velvet and purple dyes, fur and old lace; drinking cups, worthy of giants, chiselled by a Cellini, offered wine worthy of the gods; swords were masterpieces of the finest Toledo; jewelled harness caparisoned fleet Arab horses; feasts were Gargantuan, jests more than Rabelaisian; and all this wonderful wealth of glittering colour was thrown into magnificent relief against the solemnity of antique battlements and the sombre shadows of Gothic architecture. This, apart from all innovations of dramatic form, was the secret of the delirious popularity of "Hernani," "Lucrèce Borgia," "Le Roi s'amuse," and the "Tour de Nesle," and of the craze for historical novels, verses in baroque metres, slouch hats à la Buridan, velvet pourpoints, daggers, mysterious draperies and massive chests, drinking cups made out of skulls, and illuminated breviaries of which Gautier makes such fun in "Les Jeunes France." To it we owe Balzac's splendid "Contes Drolatiques," Lassailly's "Roueries de Trialph," and Roger de Beauvoir's "L'Écolier de Cluny." Gautier in his early poems was as romanesque as any of his "Jeune France," as those who know his early poems must admit. "Débauche" is a frank orgy, and "Albertus" is a gem of the Gothic, with its supernatural setting, the "fatality" of its hero, the horror of its dénouement, the wild fantasy of its witches' chamber, and its amorous wealth of descriptive detail in which old fabrics, old furniture, swords, daggers, and hangings abound. Victor Hugo, above all, was the chosen bard of the Gothic and the romanesque. Besides his dramas, his "Odes et Ballades" were in the mouth of every child who could pay four halfpence for an hour's luxury in the cabinet de lecture; and schoolboys would declaim for hours in antiphon such passages as the invocation of "La Bande Noire":
O murs! ô créneaux! ô tourelles!
Remparts! fossés aux ponts mouvants!
Lourds faisceaux de colonnes frêles!
Fiers châteaux! modestes couvents!
Cloîtres poudreux, salles antiques,
Où gémissaient les saints cantiques,
Où riaient les rires joyeux!
Églises où priaient nos mères,
Tours où combattaient nos aïeux!
or the frenzied descriptions of the witches' dance in "La Ronde du Sabbat," or lines from "La Chasse du Burgrave"—which even Hugo called "un peu trop Gothique de forme"—or with a
Çà, qu'on selle,
Ecuyer,
Mon fidèle
Destrier.
Mon cœur ploie
Sous la joie
Quand je broie
L'étrier
proclaimed their attendance at the "Pas d'Armes du Roi Jean."
The star of the Gothic and the medieval was indeed high in the heavens, but it paled before the full sun of Araby and the East. Napoleon had dreamed of a Mohammedan empire, and before his dream could fade Navarino and Missolonghi fired men's minds again. Victor Hugo was also the champion of Oriental rhapsody. Even in 1824 he had seen the possibilities of Oriental colour in French verse, when he wrote "La Fée et la Péri," a poem in which the Peri, who stands for romanticism, says:
J'ai de vastes cités qu'en tous lieux on admire,
Lahore aux champs fleuris, Golconde, Cachemire,
La guerrière Damas, la royale Ispahan,
Bagdad que ses remparts couvrent comme une armure,
Alep dont l'immense murmure
Semble au pâtre lointain le bruit d'un océan.