"Let there be nothing more. No metaphysics that destroy the impression. Let him brood over that sublime and tender mystery, which his whole life will not suffice to clear up. That is a day he will never forget. Throughout all the trials of life and the intricacies of science, amid all his passions and stormy nights, the gentle sun of St John's Day will ever illumine the deepest recesses of his heart with the immortal blossom of the purest, best love."
The little gentleman, however, is not done with yet. The dose is not yet strong enough, although quite as strong as his mother, gentle creature, could mix it. The early jacket is discarded in favour of the swallow-tailed coat, and the youth passes into the hands of his father:—
"His father takes him—'tis a great public festival—immense crowds in Paris—he leads him from Notre Dame to the Louvre, the Tuileries, the triumphal arch. From some roof or terrace, he shows him the people, the army passing, the bayonets clashing and glittering, and the tricolored flag. In the moments of expectation especially, before the fête, by the fantastic reflections of the illumination, in that awful silence which suddenly takes place in that dark ocean of people, he stoops towards him and says, 'There, my son, look, there is France—there is your native country! All this is like one man, one soul, one heart. They would all die for one; and each man ought also to live and die for all. Those men passing yonder, who are armed, and now departing, are going away to fight for us. They leave here their father, their aged mother, who will want them. You will do the same; you will never forget that your mother is France.'"
The education is very nearly completed. The father suffers the swallow-tail to wear out, the incipient mustache to take root, and then he leads his second and better self to the mountain-side. This time he does not stoop over him, for the youth is erect, and is as big a man as his father. "Climb that mountain, my son," says the venerable gentleman, "provided it be high enough; look to the four winds, you will see nothing but enemies."
And so, by a very roundabout process, we reach the heart of the mystery. M. Michelet loves fighting—remembers Waterloo—is game—is eager for another round, and in his heart believes one Frenchman to be equal to at least half a dozen Englishmen. He burns for one more trial of strength—a last decisive tussle; and he writes a philosophical work to prove the physical bout essential to the dignity, the grandeur, and the redemption of his country. Every time, we repeat the words, that he looks upon a bayonet, his heart bounds within him, and his only hope, teacher and professor of the College of France though he be, rests in trumpets, drums, swords, the epaulette, the sabredash, and the tricolor.
We have surely wasted ink enough upon this theme. In common with ourselves, the reader will regard with due commiseration, a manifestation of wicked folly, which will do no harm only because it comes in an age not ripe for bloodshed, or happily too humanized for unprovoked, gratuitous warfare; and because the French people themselves, under a politic king and a peace-seeking ministry, have learned a little to regard the blessings of undisturbed domestic quietness. We quit the main subject of M. Michelet's book, to draw attention to a few insulated passages worthy of the better days of the author, and certainly out of place in the present volume. It were not possible for M. Michelet to write four hundred pages that should not, here and there, give evidence of his great genius—his general common sense, and his touching sympathy for the suffering and the oppressed. There are passages in the work under consideration that have universal interest, and claim universal attention; his appeals on behalf of children and women, the most neglected and oppressed of the community, let them be found where they may, in England or in France, in Europe or in Asia, are instinct with truthfulness and honest vigour; his vindication of the mission of the child, philosophical and just, is beaming with the light that burns so steadily and clearly in the poems of our own Wordsworth, which have especial reference to the holy character of the "Father of the Man."
It is in one of the insulated passages of which we speak, that M. Michelet bitterly and very sensibly complains of the exclusive regard which modern romance writers have shown for the prisons and kennels, the monsters and thieves of civilized societies; of the disposition every where exhibited to descend rather than ascend for the choice of a subject, or the selection of a hero. We have felt the inconvenience of the same sickly taste in this country, and can understand the complainings over productions similar to that of The Mysteries of Paris, whilst we remember our own inferior and not less baneful Dick Turpins and Jack Sheppards. Hurtful to the morals of a nation, these productions are equally unjust to the national character. We have drawn our estimate of the present literature of France from what we have seen and heard of her least healthy writers. As well might the novels of Mr Ainsworth, or the miserable burlesques of Mr Albert Smith, be accepted as the representatives of the Romance and Drama of the modern English school. It is not one of the least crimes of which these unwholesome writers are guilty, that they present to their own countrymen, and to the world at large, only foul exceptions, hideously exaggerated, which they would have us believe are faithful pictures of the mass; and in their eager endeavours to interest and excite the unthinking many, rouse the disgust and alarm of all well-constituted and thoughtful minds. The perilous consequences of popular literature in France are finely pointed out by M. Michelet. The timid take fright, when the people are represented as monsters in the books which are greedily devoured, and intensely applauded by the majority of their readers. "What!" cry the citizens, "are the people so constituted? Then, let us increase our police, arm ourselves, shut our doors, and bolt them." And all the alarm has been occasioned by a conceited, and it may be clever, coxcomb, who, descending from his drawing-room, has asked the first passenger in the street where-abouts the People lived. He met with a fool, who directed him to the galleys, the prisons, and the stews.
"One day," writes M. Michelet, "there came a man to the famous Themistocles, and proposed to him an art of memory. He answered bitterly, 'Give me rather the art of forgetfulness.' May God give me this art, to forget from this moment all your monsters, your fantastic creations, those shocking exceptions with which you perplex my subject! You go about, spyglass in hand; you hunt in the gutters, and find there some dirty filthy object, and bring it to us, exclaiming—'Triumph! we have found the people!'
"To interest us in them, they show them to us forcing doors and picking locks. To these picturesque descriptions they add those profound theories, by which the People, if we listen to them, justify themselves in their own eyes for this crusade against property. Truly, it is a great misery, in addition to so many others, for them to have these imprudent friends. These theories and these acts are by no means of the people. The mass is, doubtless, neither pure nor irreproachable; but still, if you want to characterise it by the idea which prevails in the immense majority, you will find it occupied in founding by toil, economy, and the most respectable means, the immense work which constitutes the strength of this country, the participation of all classes in property."
We believe it sincerely and heartily. The great writers of all ages have believed it. Your low-minded scribblers have never doubted it; but it is far easier to depict the limited class, with its violence and felony, its startling incidents and painful murders—far less difficult to give picturesque effect to its nauseous jargon and offensive situations, than it is to work the simple portraiture of a whole community, who have nothing to offer to the artist but the delicate and unobtrusive material, such as Goldsmith could weave into a fabric whose colour and texture shall endure and enchant for all time.