A moral enhancement is necessary. The life of nations, like the life of individuals, has its minutes of depression; these minutes pass, certainly, but no trace of them ought to remain. Man, at this hour, tends to fall into the stomach. Man must be replaced in the heart; man must be replaced in the brain. The brain,—behold the sovereign that must be restored! The social question requires to-day, more than ever, to be examined on the side of human dignity.
To show man the human end, to ameliorate intelligence first, the animal afterward, to disdain the flesh as long as the thought is despised, and to give the example on their own flesh,—such is the actual, immediate, urgent duty of writers.
It is what men of genius have done at all times.
You ask in what poets can be useful? In imbuing civilization with light,-only that.
CHAPTER V.
Up to this day there has been a literature of literati. In France, particularly, as we have said, literature had a disposition to form a caste. To be a poet was something like being a mandarin. Words did not all belong by right to the language. The dictionary granted or did not grant the registration. The dictionary had a will of its own. Imagine the botanist declaring to a vegetable that it does not exist, and Nature timidly offering an insect to entomology, which refuses it as incorrect. Imagine astronomy cavilling at the stars. We recollect having heard an Academician, now dead, say in full academy that French had been spoken in France only in the seventeenth century, and then for only twelve years,—we do not remember which twelve. Let us give up, for it is time, this order of ideas; democracy requires it. The actual enlarging of thoughts needs something else. Let us leave the college, the conclave, the cell, the weak taste, weak art, the small chapel. Poetry is not a coterie. There is at this hour an effort made to galvanize dead things. Let us strive against this tendency. Let us insist on the truths which are urgent. The chefs-d'œuvre recommended by the manual of bachelorship, compliments in verse and in prose, tragedies soaring over the head of some king, inspiration in full official dress, the brilliant nonentities fixing laws on poetry, the Arts poétiques which forget La Fontaine, and for which Molière is doubtful, the Planats castrating the Corneilles, prudish tongues, the thoughts enclosed between four walls, and limited by Quintilian, Longinus, Boileau, and La Harpe,—all that, although official and public teaching is filled and saturated with it, all that belongs to the past. Some particular epoch, which is called the grand century, and for a certainty the fine century, is nothing else in reality but a literary monologue. Is it possible to realize such a strange thing,—a literature which is an aside? It seems as if one read on the frontal of art "No admittance." As for ourselves, we understand poetry only with the door wide open. The hour has struck for hoisting the "All for All." What is needed by civilization, henceforth a grown-up woman, is a popular literature.
1830 has opened a debate, literary on the surface, at the bottom social and human. The moment is come to close the debate. We close it by asking a literature having in view this purpose: "The People."
The author of these pages wrote, thirty-one years ago, in the preface to "Lucrèce Borgia," a few words often repeated since: "Le poète a charge d'âmes." He would add here, if it were worth saying, that, allowing for possible error, the words, uttered by his conscience, have been his rule throughout life.