French Classics

by William Cleaver Wilkinson

Montaigne tells us how he was himself trained under his father. The elder Montaigne, too, had his ideas on education—the subject which his son, in this essay, so instructively treats. The essayist leads up to his autobiographical episode by an allusion to the value of the classical languages, and to the question of method in studying them. He says:

In my infancy, and before I began to speak, he [my father] committed me to the care of a German,... totally ignorant of our language, but very fluent, and a great critic, in Latin. This man, whom he had fetched out of his own country, and whom he entertained with a very great salary, for this only end, had me continually with him: to him there were also joined two others, of inferior learning, to attend me, and to relieve him, who all of them spoke to me in no other language but Latin. As to the rest of his family, it was an inviolable rule, that neither himself nor my mother, man nor maid, should speak any thing in my company but such Latin words as every one had learned only to gabble with me. It is not to be imagined how great an advantage this proved to the whole family: my father and my mother by this means learned Latin enough to understand it perfectly well, and to speak it to such a degree as was sufficient for any necessary use, as also those of the servants did who were most frequently with me. In short, we Latined it at such a rate that it overflowed to all the neighboring villages, where there yet remain, that have established themselves by custom, several Latin appellations of artisans and their tools. As for what concerns myself, I was above six years of age before I understood either French or Perigordin [“Perigordin” is Montaigne’s name for the dialect of his province, Perigord (Gascony)], any more than Arabic; and, without art, book, grammar, or precept, whipping, or the expense of a tear, I had, by that time, learned to speak as pure Latin as my master himself, for I had no means of mixing it up with any other.

We are now to see how, helped by his wealth, the father was able to gratify a pleasant whimsey of his own in the nurture of his boy. Highly æsthetic was the matin réveille that broke the slumbers of this hopeful young heir of Montaigne:

Some being of opinion that it troubles and disturbs the brains of children suddenly to wake them in the morning, and to snatch them violently and over-hastily from sleep, wherein they are much more profoundly involved than we, he [the father] caused me to be wakened by the sound of some musical instrument, and was never unprovided of a musician for that purpose.... The good man, being extremely timorous of any way failing in a thing he had so wholly set his heart upon, suffered himself at last to be overruled by the common opinions:... he sent me, at six years of age, to the College of Guienne, at that time the best and most flourishing in France.

In short, as in the case of Mr. Tulliver, the world was “too many” for Eyquem père; and, in the education of his son, the stout Gascon, having started out well as dissenter, fell into dull conformity at last.

We ought to give some idea of the odd instances, classic and other, with which Montaigne plentifully bestrews his pages. He is writing of the “Force of Imagination.” He says:

A woman, fancying she had swallowed a pin in a piece of bread, cried and lamented as though she had an intolerable pain in her throat, where she thought she felt it stick; but an ingenious fellow that was brought to her, seeing no outward tumor nor alteration, supposing it to be only a conceit taken at some crust of bread that had hurt her as it went down, caused her to vomit, and, unseen, threw a crooked pin into the basin, which the woman no sooner saw, but, believing she had cast it up, she presently found herself eased of her pain....

Such as are addicted to the pleasures of the field have, I make no question, heard the story of the falconer, who, having earnestly fixed his eyes upon a kite in the air, laid a wager that he would bring her down with the sole power of his sight, and did so, as it was said; for the tales I borrow, I charge upon the consciences of those from whom I have them.

We italicize the last foregoing words, to make readers see that Montaigne is not to be read for the truth of his instances. He uses what comes to hand. He takes no trouble to verify. “The discourses are my own,” he says; but even this, as we have hinted, must not be pressed too hard in interpretation. Whether a given reflection of Montaigne’s is strictly his own, in the sense of not having been first another’s, who gave it to him, is not to be determined except upon very wide reading, very well remembered, in all the books that Montaigne could have got under his eye. That was full fairly his own, he thought, which he had made his own by intelligent appropriation. And this, perhaps, expresses in general the sound law of property in the realm of mind. At any rate, Montaigne will wear no yoke of fast obligation. He will write as pleases him. Above all things else, he likes his freedom.