SECONDARY ABILITY.–Near such great geniuses, it is only possible to mention those of secondary talent; but no compunction need be felt at alluding to Segrais, a graceful manufacturer of eclogues, and Benserade, who rhymed delightfully for masquerades and was capable, on occasions, of being wittily but also tenderly elegiac.
GREAT PROSE WRITERS.–The writers in prose of the second half of the seventeenth century are legion and but few fail to attain greatness. La Rochefoucauld, in his little volume of _Maxims_, enshrined thoughts that were often profound in a highly accurate and delicate setting. Cardinal de Retz narrated his tumultuous career in his _Memoirs_, which are strangely animated, vivid, and representative of what occurred. Arnauld and Nicole have explained their rigid Catholicism, which was Jansenism, in solid and luminous volumes; the latter, more especially, merits consideration and in his _Moral Essays_ proved an excellent writer. Mezeray, conscientious, laborious, circumstantial as well as capable writer, should be reckoned as the earliest French historian. Bourdaloue, sound logician and good moralist, from his pulpit as a preacher uttered discourses that were admirable, though too dogmatically composed, and painted word-pictures that piously satirised the types and the eccentrics of his day. Malebranche, reconsidering what Descartes had thought and revitalising his conclusions, arranged in his _Research after Truth_ a complete system of spiritualist and idealistic philosophy which he rendered clear, in spite of its depth, and extremely attractive owing to the merits of his powerful and facile imagination and of his rich, copious, and elastic style, that attained the happy mean between conversation and instruction. But five writers of the highest rank came into the perennial forefront, attracting and retaining general attention: Pascal, Bossuet, Mme. de Sevigne, La Bruyere, and Fenelon.
PASCAL.–Pascal, a scholar and also by scientific education mathematician, geometrician, physician, turned, not to letters which he scorned, but to the exposition of those religious ideas which at the age of thirty-three were precious to him. To defend his friends the Jansenists against their foes the Jesuits, he wrote _The Provincial Letters_ (1656), which have often been regarded as the foremost monument of classic French prose; such is not our view, but they certainly form a masterpiece of argument, of dialectics, of irony, of humour, of eloquence, and are throughout couched in a magnificent style. Dying whilst still young, he left notes on various subjects, more particularly religion, philosophy, and morality, which have been collected under the title of _Thoughts_ and are the product of a great Christian philosopher, of a profound moralist, of a marvellously concise orator, and also of a poet who lacked neither acute sensitiveness nor vast and imposing imagination.
BOSSUET.–Bossuet is universally admitted to be the king of French orators; all his life he preached with a serious, imposing, vast, copious, and sonorous eloquence, fed from recollections of Holy Writ and of the Fathers, being insistent, convincing, and persuasive. His few funeral orations (on Henrietta of France, Henrietta of England, the Prince de Conde) are prose poems of glory, grief, and piety. He wrote against all those he regarded as enemies of true religion (_History of Variations_, _Quarrels of Quietness_), controversial works sparkling with irony and exalted eloquence. He traced in his _Universal History_ the great design in all its stages of God towards humanity and the world. He knew all the resources of the French language and of French style, and in his hands they were expanded. Despite his errors, which were those of his epoch, his date counts in the history of France as a great date, the date in which the religion to which he belonged reached its apogee and when the grand style of French prose was in its zenith.
MADAME DE SEVIGNE.–Madame de Sevigne only wrote letters to her friends; but they were so witty, lively, picturesque, admirable in aptly recounting the anecdotes of her day and in depicting the scenes and those concerned in them, written in a style so brisk and seductive, uniting the promise of 1630 with the harvest of 1670, that her work still remains one of the greatest favourites with people of literary taste.
She was the friend of M. de la Rochefoucauld, of Cardinal de Retz, and of that amiable, refined, and gentle Mme. de la Fayette, whose novel, _The Princess of Cleves_, is still read with interest and emotion.
LA BRUYERE.–La Bruyere translated and continued Theophrastus; he was a moralist, or rather a depicter of morals. He described the court, the town, and (very rarely) the village and the country. He was on the lookout for fools in order to be their scourge. He painted, or, better still, he engraved in an incisive way that was sharp, like aqua-fortis. Almost invariably bitter to an extreme, he sometimes had flashes of quite unexpected and very singular sensibility which make him beloved. Somewhat in imitation of La Rochefoucauld, but more particularly in conformity with his own nature, he developed a brief, concise, brusque style which became that of the moralist and even of the general author for the next fifty years, a style which was that of Montesquieu and Voltaire, and superseded the broad, sustained, balanced, harmonious, and measured style of the majority of the writers of the eighteenth century. In the field of ridicule, wherein he sowed copiously, more so even than Moliere, the comic poets of the eighteenth century came to glean copiously, which did them less credit (for it is better to observe than to read) than it conferred on the wise and ingenious author of the _Characters_.
FENELON.–Fenelon, extremely individual and original, having on every subject ideas of his own which were sometimes daring, often practical, always generous and noble, was a preacher like Bossuet; also like Bossuet, he was a dexterous, skilled, and formidable controversialist, whilst, for the instruction of the Duke of Burgundy, which had been confided to him, he became a fabulist, an author of dialogues, in some degree a romancer or epic poet in prose in his famous _Telemachus_, overadmired, then overdepreciated, and which, despite weaknesses, remains replete with strength and dazzling brilliance. Nowadays there is a marked return to this prince of the Church and of literature, whose brain was complex and even complicated, but whose heart was quite pure and his reasoning on a high level.
CHAPTER XI
THE SIXTEENTH AND SEVENTEENTH CENTURIES: ENGLAND
Dramatists: Marlowe, Shakespeare. Prose Writers: Sidney, Francis Bacon, etc. Epic Poet: Milton. Comic Poets.
ELIZABETHAN AGE: SPENSER.–In England the Elizabethan Age is the period extending from the commencement of the reign of Elizabeth to the end of her successor, James I; that is, from 1558 to 1625. This was the golden age of English literature: the epoch in which, awakened or excited by the Renaissance, her genius gave forth all its development in fruits that were marvellous.
First, there was Spenser, alike impregnated with the Italian Renaissance and gifted with the slightly fantastic imagination of his own countrymen, who wrote eclogues, in his _Shepheard’s Calender_, in imitation of Theocritus and Virgil as well as of the Italians of the sixteenth century, and who gave charming descriptions in his _Faerie Queene_.
Next came Sidney, the sonnetist, at once passionate and precious, and then that highest glory of this glorious period, the dramatic poets.
THE STAGE: MARLOWE.–As in France, the English stage in the Middle Ages had been devoted to the performance of mysteries (under the name of _miracles_), later of moralities. As in France, tragedy, strictly speaking, was constituted in the sixteenth century. Towards its close appeared Marlowe, a very great genius, still rugged but with extraordinary power, more especially lyrical. His great works are _Doctor Faustus_ and _Edward II_.
SHAKESPEARE.–Then (at the same time as the rest, for they are of about the same age, though Marlowe appeared the earlier) came William Shakespeare, who is perhaps the greatest known dramatic poet. His immense output, which includes plays carelessly put together and, one may venture to say, negligibly, also contains many masterpieces: _Othello_, _Romeo and Juliet_, _Macbeth_, _Hamlet_, _The Taming of the Shrew_, _The Merry Wives of Windsor_, _As You Like It_, and _The Tempest_. The _types_ and personages of Shakespeare, which have remained celebrated and are still daily cited in human intercourse, include Othello, that tragic figure of jealousy; Romeo and Juliet, the young lovers separated by the feuds of their families but united in death; Macbeth and Lady Macbeth, the ambitious criminals; Hamlet, the young man with a great mind and a great heart but with a feeble will which collapses under too heavy a task and comes to the verge of insanity; Cordelia, the English Antigone, the devoted daughter of the proscribed King Lear; Falstaff, glutton, coward, diverting and gay, a kind of Anglo-Saxon Panurge. A whole dramatic literature has come from Shakespeare. To France he was introduced by Voltaire and then scorned by him because he had succeeded only too well in popularising him; subsequently he was exalted, praised to hyperbole, and imitated beyond discretion by the romantics. In addition to his dramatic works, Shakespeare left _Sonnets_, some of which are obscure, but the majority are perfect.
BEN JONSON.–Ben Jonson, classical, exact, pretty faithful imitator of the writers of antiquity, interested in unusual characters and customs, gifted with a ready and lively imagination in both comedy and tragedy like Shakespeare, succeeded especially in comedy (_Every Man in his Humour_, _The Silent Woman_, etc.). Beaumont and Fletcher, who wrote in collaboration, are full of elevation, of delicacy and grace expressed in a style which is regarded by their fellow-countrymen as exceptionally beautiful.
PROSE WRITERS: LYLY; SIDNEY; BACON; BURTON.–In prose this amazing period was equally productive. Lyly, who corresponds approximately to the French Voiture, created _euphemism_: that is, witty preciosity. Sidney, in his _Arcadia_ furnished a curious example of the chivalric romance. Further in his _Defence of Poesie_, he founded literary criticism. Francis Bacon, historian, moralist, philosopher, perhaps collaborator with Shakespeare, has a place equally allocated to him in a history of literature as in a history of philosophical ideas. Robert Burton, moralist or rather _Meditator_, who gave himself the pseudonym of Democritus Junior because he was consumed with sadness, left a great work, but one in which there are many quotations, called _The Anatomy of Melancholy_. There is much analogy between him and the French Senancour. Sterne, without acknowledgment, profusely pilfered from him. He is thoroughly English. He did not create melancholy but he greatly contributed to it and made a specialty of it. Despite his pranks and whimsicality, he possessed high literary merit.
POETRY: WALLER.–The English seventeenth century, strictly speaking, virtually commencing about 1625, was inferior to the sixteenth, that has just been considered, which is easily explained by the civil wars distracting England at this period. In poetry, on the one hand, may be noticed the softened and pleasing Epicureans, of which the most prominent representative was Waller, a witty man of the world, who dwelt long in France, and was a friend of Saint-Evremond (who himself spent a portion of his life in England). Waller made a very fine eulogy of his cousin Cromwell, later another of Charles II, and was told by the latter, “This is not so good as that on Cromwell,” whereupon he replied, “Sire, you know that poets always succeed better in fiction than in fact.” Here was a man of much wit.
HERBERT; HABINGTON.–Also must be remarked the austere and mystical such as George Herbert, with his _Temple_, a collection of religious and melancholy poems, and like Habington, sad and gloomy even as far as the thirst for dissolution, analogous to the modern Schopenhauer: “My God, if it be Thy supreme decree, if Thou wilt that this moment be the last wherein I breathe this air, my heart obeys, happy to retire far from the false favours of the great, from betrayals where the just are preyed upon….”
DRAMATIC POETS.–Let the estimable dramatic poets be alluded to. Davenant, perhaps a son of Shakespeare; Otway, the illustrious author of _Venice Preserved_ and of many adaptations from the French (_Titus and Berenice_, the _Tricks of Scapin_, etc.); Dryden, declamatory, emphatic, but admirably gifted with dramatic genius, author of _The Virgin Queen_, _All for Love_ (Cleopatra), _Don Sebastian_, was always hesitating between the influence of Shakespeare and that of the French, over-inclined, too, to licentious scenes but pathetic and eloquent.
MILTON.–Quite apart arose Milton, the imperishable author of _Paradise Lost_, the type and model of the religious epic permeated, in fact, with profound and ardent religious feeling, but also possessing very remarkable grandeur and philosophical breadth. Milton became a second Bible to the people to whom the Bible was the inevitable and essential daily study. To _Paradise Lost_, Milton added the inferior _Paradise Regained_ and the poem of _Samson_. Apart from his great religious poems, Milton wrote Latin poems (especially in his youth) which are extremely agreeable, and also works in prose, generally in relation to polemical politics, which came from a vigorous and exalted mind. Milton, from the aspect of his prodigious productiveness and his varied life, divided between literature and the intellectual battles of his times, is comparable to Voltaire, reservation being made for his high moral character, wherein no comparison can be entertained with the French satirist. He did himself full justice. Having become blind, he wrote:
“Cyriack, this three years’ day these eyes, though clear, To outward view, of blemish or of spot, Bereft of light, their seeing have forgot; Nor to their idle orbs doth sight appear Of sun, or moon, or star, throughout the year, Or man, or woman. Yet I argue not
Against Heaven’s hand or will, nor bate a jot Of heart or hope, but still bear up and steer Right onward. What supports me, dost thou ask? The conscience, friend, to have lost them overplied In Liberty’s defence, my noble task,
Of which all Europe rings from side to side. This thought might lead me through the world’s vain mask Content, though blind, had I no better guide.”
NOTABLE PROSE WRITERS.–In prose must be noted, on the austere side, George Fox, founder of the sect of Quakers, impassioned and powerful popular orator, author of the _Book of Martyrs_; John Bunyan, an obstinate ascetic, author of _Grace Abounding_, a kind of edifying autobiography, and of _The Pilgrim’s Progress_, which became one of the volumes of edification and of spiritual edification to the emigrant founders of the United States of America; on the side of the Libertines, Wycherley, who, thoroughly perceiving the moral lowness, fairly well concealed, which lies at the source of Moliere, carried this Gallic vein to an extreme in shameless imitations of _The School for Women_ and _The Misanthrope_ (_The Country Wife_ and _The Plain Dealer_); delightful Congreve, a far more amusing companion–witty, spiritual, sardonic, writing excellently, knowing how to create a type and charming his contemporaries whilst not failing to write for posterity in his _Old Bachelor_, _Love for Love_, and _Way of the World_.
NEWTON; LOCKE.–It must not be forgotten that at this epoch Newton and Locke, the one belonging more to the history of science and the other to the history of philosophy, both wrote in a manner entirely commensurate with their genius.
CHAPTER XII
THE SIXTEENTH AND SEVENTEENTH CENTURIES: GERMANY
Luther, Zwingli, Albert Duerer, Leibnitz, Gottsched
NO RENAISSANCE.–The great originality of Germany from the literary point of view–perhaps, too, from others–is that she _had no renaissance_, no contact, at all events close, with classic antiquity. Her temperament was no doubt hostile; the Reformation, that is, the impassioned adoption of a primitive unadulterated Christianity conservative and directly opposed to antiquity whether pagan or philosophical, added to the repugnance. However that may be, the fact remains: Germany enjoyed no renaissance.
LUTHER.–Also in the sixteenth century in Germany, as in France in the fourteenth century, there was only popular poetry, and all the prose is German, all reformist, all moralising, and has little or practically no echo of antiquity. Luther, by his translation of the Bible into the vulgar tongue, by his _prefaces_ to each book of the Bible, in his polemical writings (_The Papacy and its Members_, _The Papacy Elevated at Rome by the Devil_, etc.), by his _Sermons and Letters_, gave to Teutonic thought a direction which long endured, and to Teutonic prose a solidity, purity, sobriety, and vigour which exercised an immense influence on human minds.
THE REFORMERS.–Following Luther, Zwingli, Hutten, Eberling, Melanchthon (but in Latin), Erasmus (most frequently in Latin but sometimes in French) spread the new doctrine or doctrines in relation thereto.
ERASMUS; ALBERT DUeRER; GOTTSCHED.–An exception must be made about Erasmus in what has just been observed. With a very unfettered mind, often as much in opposition to the side of Luther as to the side of Rome, and also prone to attack the pure humanists who styled themselves Ciceronians, Erasmus was a humanist, an impassioned student of ancient letters, so that he has one foot in the Renaissance and one in reform, and withal possessed a very original brain, and was, from every aspect, “ultra-modern.”
Albert Duerer must also be cited: mathematician, architect, painter, yet belonging to our subject by his _four books on the human proportion_ wherein he shows, in chastened and precise style, that he himself is nothing less than the earliest founder of Teutonic aestheticism.
The seventeenth century–extending it, as is reasonable enough, up to the region of 1730–is almost exclusively the era of French influence and a little, if desired, of Italian influence. The critic Gottsched (_Poetic Art, Grammar, Eloquence_) maintained the excellence of French literature and the necessity of drawing inspiration from it with an energy of conviction which drew on him the hatred of the succeeding generation.
LEIBNITZ.–German poetry of his period, possessing neither originality nor power, could only interest the erudite and the searchers. The domain of prose is more enthralling. Leibnitz, who wrote in Latin and French, and even in German, is pre-eminently the great thinker he is reputed to be; but though he never possessed nor even pretended to possess originality in style, he is nevertheless highly esteemed for the purity, limpidity, and facility of his language.
CHAPTER XIII
THE SIXTEENTH AND SEVENTEENTH CENTURIES: ITALY
Poets: Ariosto, Tasso, Guarini, Folengo, Marini, etc. Prose Writers: Machiavelli, Guicciardini, Davila.
THE SIXTEENTH CENTURY.–Italy, after Dante and Petrarch, possessed literary strength and much literary glory in the sixteenth century. She produced an admirable pleiad of poets and prose writers of high merit. These were Ariosto, Tasso, Berni, Sannazaro, Machiavelli, Bandello, Guicciardini. Below them were a hundred distinguished writers, among which must be cited Aretino, Folengo, Bembo, Baldi, Tansillo, Dolce, Benvenuto Cellini, Hannibal Caro, and Guarini.
ARIOSTO.–Ariosto wrote _Orlando Furioso_, which is not the epic in parody, as has been too often observed, but the gay and joyous epopee of Orlando and his companions. The principal characters are Orlando, Charlemagne, Renaud, Agramant, Ferragus, Angelica, Bradamante, Marphisa. The tone is extremely varied and the author is in turns joyous, satirical, pathetic, melancholy, and even tragical. Ariosto is the superlative poet of fantastic imagination combined with a foundation of good sense, reason, and benevolence. Goethe has said of him very aptly: “From a cloud of gold wisdom sometimes thunders sublime sentences, whilst to a harmonious lute, folly seems to riot in savage digressions yet all the while maintains a perfect measure.” Ariosto was well read in the classics, but fundamentally his master was Homer.
TASSO.–Torquato Tasso, whose life was characterised by a thousand trials and who was long the victim of a mental malady, wrote a poem on the crusade of Godfrey de Bouillon. The poem is full of the supernatural; the chief characters are Renaud, Tancred, the enchantress Armida, Clorinda. The inspiration of Tasso is specially mystic and lyrical; his facility for description is delicious. The repute of _Jerusalem Delivered_ in the seventeenth century was immense, and all the literatures of Europe have innumerable references to the personages and episodes of the poem. In Italy there were fervid partisans of the superiority of Tasso over Ariosto or of Ariosto over Tasso, and many duels on the subject, the most bellicose being, as always happens, between those who had read neither.
BERNI.–Berni, like Ariosto, was half burlesque in the diverting portions of his works. He wrote satires which were often virulent, paradoxes such as the eulogy of the plague and of famine, and an _Amorous Orlando_ which is quite agreeable. The Bernesque type, that is, the humoristic, was created by him and bears his name.
SANNAZARO.–Sannazaro wrote both in Latin and Italian. His chief claim to fame lies in his _Arcadia_, an idyllic poem of bucolic sentiment, destined to evoke thousands of imitations. He also produced eclogues and sonnets in Italian which give sufficient grounds for regarding him as one of the chief masters of that language.
MACHIAVELLI.–Great thinker, great politician, great moral philosopher, Machiavelli possessed one of the most powerful minds ever known. He wrote _The Prince_, _Discourses upon Livius_, an _Art of War_, diplomatic letters and reports, for he was at one time secretary to the Florentine Republic, a _History of Florence_, a comedy (_The Mandrake_), romances and tales. _The Prince_ is a treatise of the art of acquiring and preserving power by all possible means and more particularly by intelligent and discreet crime. Machiavelli emphasised the separation, at times relative, at times absolute, which exists between politics and morals. His _Discourses upon Livius_ are full of sense, penetration, and profundity; his light works show a singular dexterity of thought united to a fundamental grossness which it would be impossible to misunderstand or excuse.
BANDELLO.–Bandello is the author of novels in the vein of those of Boccaccio or of Brantome. His voluntary or spontaneous originality consists in mixing licentious tales with sentences and maxims which are most austere and moral. He also wrote elegiac odes that were highly esteemed. His very pure style is considered in Italy to be strictly classical.
GUICCIARDINI.–Guicciardini wrote with infinite patience, severe conscientiousness, and imperturbable frigidity in a style that was pure, though somewhat prolix, that _History of Florence_, virtually a history of Italy, which from its first appearance was hailed as a classic and has remained one. His history is altogether that of a statesman; he passed his life among prominent public affairs, being Governor of Modena, Parma, and Bologna, a diplomatist involved in the most important negotiations; this historian is himself a historical personage.
FOLENGO.–Folengo wrote a macaronic poem: that is to say, one in which Latin and Italian were mixed, called _Coccacius_ (which must be remembered because when translated into French it became the earliest model for Rabelais), as well as _Orlandini_ (childhood of Orlando), which is amusing. Other serious works did not merit serious consideration.
ARETINO.–Aretino was a satirist and a poet so fundamentally licentious that he has remained the type of infamous author. He wrote comedies (_The Courtesan_, _The Marshal_, _The Philosopher_, _The Hypocrite_), intimate letters that are extremely interesting for the study of the customs of his day, religious and edifying books, replete with talent if not with sincerity, as well as an innumerable mass of satires, pamphlets, statements, diatribes which caused all the princes of his day to tremble, and through making them tremble also brought gold into the coffers of Aretino; he had raised blackmail to the height of a literary department.
BEMBO; BALDI.–Cardinal Bembo, a devout Ciceronian to the verge of fanaticism, wrote more especially in Latin, but left Italian poems of much elegance and charm; he ranks among the most brilliant representatives of the Italian Renaissance.
Baldi, a very widely versed scholar, sought relaxation from his erudition in writing _eclogues_, _moral poems_, and a very curious didactic poem on _navigation_.
TANSILLO; DOLCE.–Tansillo, a very fertile poet, composed a rather licentious poem entitled _The Vintager_, and a religious poem called _The Tears of St. Peter_ (which the younger Malherbe thought so beautiful that he partially translated it), _The Rustic Prophet_ and _The Nurse_, wherein he showed himself the pupil of Tasso, comedies, a bucolic drama, etc.
Dolce, not less prolific, produced five epic poems of which the best is _The Childhood of Orlando_, many comedies, for the most part imitations of Plautus, tragedies after Euripides and Seneca, and then one which seems to have been original and was the celebrated _Mariamna_, so often imitated in French. He was also an indefatigable translator of Horace, Cicero, Philostrates, etc.
BENVENUTO CELLINI.–The great sculptor and chaser, Benvenuto Cellini, belongs to literary history because of his _Treatise on Goldsmithing and Sculpture_ and his admirable _Memoirs_, which are certainly in part fictitious, but are a literary work of the foremost rank.
HANNIBAL CARO; GUARINI.–Hannibal Caro, by his _poems_, his _letters_, his literary criticism, his comedy, _The Beggars_, and his metrical translation of the _Aeneid_, acquired high rank in the judgment both of Italy and Europe.
Guarini, the friend of Tasso, whom he helped in the labour of revising and correcting _Jerusalem Delivered_, was unquestionably his pupil. Tasso having written a bucolic poem, _Aminta_, Guarini wrote a bucolic poem, _The Faithful Shepherd_, which has been one of the greatest literary successes ever known. It was a kind of irregular drama mingled with songs and dances, highly varied, poetic, pathetic sometimes in a rather insipid way. All the _pastorals_, whether French or Italian, and later the opera itself, can be traced to Guarini, or at least the taste for the eclogue may be derived from the dramas Guarini originated. This was a man whose influence has been considerable not only on literature, but also on manners, customs, and morals.
DECADENCE OF LITERATURE.–In the seventeenth century Italian literature indisputably was in decadence. In verse more especially, but also in prose, it was the period of ability without depth and even without foundation, of elegant and affected verbiage or burlesque lacking alike in power, thought, and passion. Marini loomed large with his _Adonis_, an ingenious mythological epic, sometimes brilliant but also lame, sometimes full of points, but also with trifles. Great as was his reputation in Italy, it was perhaps surpassed in France, where he was welcomed and flattered by Marie de’ Medici and hyperbolically praised by Voiture, Balzac, Scudery, etc.
SALVATOR ROSA; TASSONI; MAFFEI.–The great painter Salvator Rosa devoted himself hardly less to literature; he left lyrical poems and particularly satires which are far from lacking spirit, though often destitute of taste. Satiric, too, was the paradoxical Tassoni, who scoffed at Petrarch, and who in his _Thoughts_, long prior to J.J. Rousseau, was the first, perhaps (but who knows?), to maintain that literature is highly prejudicial to society and humanity, and who achieved fame by his _Rape of the Bucket_: that is, by a burlesque poem on the quarrel between the Bolognese and the inhabitants of Modena about a bucket.
Maffei (intruding somewhat on the eighteenth century), good scholar and respected historian, produced in 1714 his _Merope_, which was an excellent tragedy, as Voltaire well knew and also testified.
HISTORIANS AND CRITICS.–In prose there are none to point out in the eighteenth century in Italy except historians and critics. Among the historians must be noted Davila, who spent his youth in France near Catherine de’ Medici, served in the French armies, and on his return to Padua devoted his old age to history. He wrote a _History of the Civil Wars in France_ which was highly esteemed, and which Fenelon recollected when writing his _Letter on the Pursuits of the French Academy_. The foregoing are what must be mentioned as notable manifestations of literary activity in Italy during the seventeenth century, but let it not be forgotten that the scientific activity of the period was magnificent, and that it was the century of Galileo, of Torricelli; of the _four_ Cassini, as well as of so many others who were praised, as they deserved to be, in the _Eulogies of the Learned_ of Fontenelle.
CHAPTER XIV
THE SIXTEENTH AND SEVENTEENTH CENTURIES: SPAIN AND PORTUGAL
Poets: Quevedo, Gongora, Lope de Vega, Ercilla, Calderon, Rojas, etc. Prose Writers: Montemayor, Cervantes, etc. Portugal: De Camoens, etc. The Stage.
POETRY: QUEVERO; GONGORA.–The sixteenth century and the first half at least of the seventeenth century were the golden age of both Spanish and Portuguese literature. In poetry Quevedo is the first to be noticed, and he is also notable in prose. Born at Madrid, but compelled by the consequences of his youthful follies to take refuge in Sicily, then back in Spain and either at the height of his fortune near the Duke of Olivares or else pursued, imprisoned, and tortured by that minister, he possessed facility and force which were alike extraordinary. His poems, which are most satirical, revealed a glow and a freshness that were very remarkable.
Gongora, like Lyly in England and Marini in Italy, enjoyed the fame of founding a bad school. It was _Gongorism:_ that is, the art of writing not to make oneself read, which could only suit lawyers, orators, critics, and scientists, but the art of writing to cause one’s idea only to be discovered after many efforts, or even so as to prevent its being discovered at all. _Gongorism_ belongs to every epoch, and in each epoch is the means of scaring away the crowd, of obtaining a small band of enthusiastic admirers, and of being able to scorn the suffrage of the multitude. Gongora, both in Spain and in France, found devoted admirers and imitators.
LOPE DE VEGA.–Lope de Vega was one of the greatest of the world’s poets, although he was intelligible. Prodigiously fertile, which is not necessarily a sign of mediocrity, he published some romances in prose (_Dorothea Arcadia_), some novels, epic or historic poems (_Circe, _Shepherds of Bethlehem_, Jerusalem Conquered_, _The Beauty of Angelica_, _The Pilgrim in his Land_, _The White Rose_, _The Tragic Crown_, of which Mary Stuart is the heroine, _The Laurel of Apollo_, etc.), burlesque and satirical poems, and dramatic poems the number of which exceed eighteen hundred. In this mass of production may be discerned comedies of manners, comedies of intrigue, pastorals, historical comedies (with characters whose names are known in history), classical and religious tragedies, mythological, philosophical, and hagiological comedies. Despite these distinctions, which are useful as a guide in this throng, all the dramatic work of Lope de Vega is that of imagination which seems to owe little to practical observation and is valuable through happy invention, dexterous composition, and the charming fertility and variety of ideas in the details. The dramatic work of Lope de Vega (as yet incompletely published and which probably never will be published in its entirety) was a vast mine wherein quarried not only all the dramatic authors but all the romancists and novelists of Europe. This prodigious producer, who wrote millions of verses, is the Homer of Spain and more fertile than Homer, whilst also a Homer as to whose existence there is no doubt.
ERCILLA.–Alonso de Ercilla created a peculiar species, that of memorialist epic poems. He was a man concerned in important events, who took daily notes and subsequently, or even concurrently, put them into verse. Thus Ercilla made his _Araucana_: that is, the poem of the expedition against the Araucanians in Chili, or rather he thus wrote the first (and best) of the three parts; later, desirous of rising to epic heights, he had resort to the contrivances and conventional traditional ornaments of this type of work and became dull, without entirely losing all his skill. “This poem is more savage than the nations which form its theme,” said Voltaire in a pretty phrase which was somewhat hyperbolical. The _Araucana_ is agreeably savage in its first part without being ferocious and fastidiously civilised in the sequels without being contemptible.
MENDOZA.–Hurtado de Mendoza must be regarded–that proud, gloomy, bellicose and haughty minister of Charles V–because he was the earliest of the picaresque romancists. The picaresque method consisted in delineating the habits of outcasts, bohemians, spongers, swindlers, and vagrants. It lasted for about three quarters of a century. To this class belonged _Guzmar of Alfargue_, by Mateo Aleman; _Marco of Obregon_, by Espinel; _The Devil on Two Sticks_, by Guevara; and somewhat, in France, the _Gil Bias_ of Le Sage. Now the prototype of all these was _The Lazarillo of Tormes_, by Hurtado de Mendoza.
GUEVARA.–A moment’s heed must be paid to the amiable Antonio de Guevara, an insinuating moralist whose _Familiar Letters_ and _Dial of Princes_, though rather affectedly grave, contain interesting passages which commend the author to readers. He is more particularly interesting to Frenchmen because it was from him La Fontaine borrowed his _Countrymen of the Danube_, attributing it to Marcus Aurelius (which led to much confusion), because the principal personage in _The Dial of Princes_ is one Marcus Aurelius, who is discreetly intended for Charles V. In spite of what Taine wrote, though his criticisms in detail were accurate, La Fontaine followed pretty closely the fine and highly original wording of Guevara.
THE ROMANCE.–The Spanish romance was at its zenith in the sixteenth and seventeenth centuries. It had a legion of authors, but here the principal only can be mentioned. Montemayor, who lived at the close of the sixteenth century and led an adventurous existence, wrote the _Diana in Love_, which became celebrated in every country under the title of “_Diana_ of Montemayor.” It is a mythological, bucolic, and magical romance, entirely lacking in order, being wholly fantastical, sometimes cruelly dull, sometimes graceful, affecting, seductive, and pathetic, always ridiculously romantic. Its vogue was considerable in Spain, France, and Italy. The _Astrea_ of Honore d’Urfe proceeds in part from it, but is more sensible and more restrained.
QUEVEDO.–Here Quevedo is again found, now as prose writer and in this no worse than as poet. He was prolific in romances or satirical fantasies, in social reveries wherein contemporary society is not spared and Juvenal is often suggested. Finally, he put forth all his powers, which were considerable, in his great romance, _Don Pablo of Segovia_, which, twenty years ago, would have been called naturalist. Quevedo obviously was an observer, possessed psychological penetration or, at least, the wisdom of the moralist; but above all, his imagination was curiously original, he invented, on an apparently true foundation, adventures which were almost probable and were diverting, burlesque, or possessed a bitter flavour. His was one of the most original brains in Spain, which has abounded in mental originalities.
CERVANTES.–Montesquieu has said of the Spaniards: “They have only one good book, the one which mocks at all the others.” Nothing could be more witty nor more unjust; but it is true that the greatest Spanish book is that in which the author does mock at many other Spanish books. Cervantes wrote his _Don Quixote_ to ridicule the romances of chivalry which in his land were a craze among the townsfolk and smaller aristocratic landowners, but he wrote in no spirit of animosity and even reserved for his comic hero, that is, for his victim, a discreet sympathy which he made his reader share. A hero of chivalry himself, warrior with indomitable courage, thrice wounded at the battle of Lepanto, where he lost an arm, seven years in captivity in Algiers, on his return to Spain he became involved in adventures which again consigned him to prison before he at length attained success, if not fortune, with _Don Quixote_. _Don Quixote_ is a realistic romance traversed by a frenzied idealist: here are the manners of the populace, of innkeepers, muleteers, galley-slaves, monks, petty traders, peasants, and amid them passes a man who views the entire world as a romance and who believes he finds romance at every turn of his road. This perpetual contrast is, first, effective and supremely artistic in itself, then is of a reality superior to that of any realism, since it is the complete life of humanity which is thus painted and penetrated to its very foundations and shown in all its aspects. There are two portions to this romance, and they are constantly near each other and, as it were, interlaced; namely, the episodes and the conversations. The episodes, comic incidents, humorous or sentimental adventures are of infinite variety and display incredible imagination; the conversations between Don Quixote and his faithful Sancho represent the two tendencies of the human mind to recognise on the one side, the goodness, generosity, devotion, the spirit of sacrifice, and the illusions; on the other side, common sense, the sense of reality, the sense of the just mean and, as it were, the proverbial reason, without malice or bitterness. This masterpiece is perhaps the one for which would have had to be invented the epithet of _inexhaustible_.
Apart from his immortal romance, Cervantes wrote novels, romances, sonnets, and also tried the drama, at which he did not succeed. The whole world, literally, was infatuated with _Don Quixote_, and, despite all changes of taste, it has never ceased to excite the admiration of all who read.
THE DRAMA: FERDINAND DE ROJAS.–The drama, even apart from Lope de Vega, of whom we have written, was most brilliant in Spain during these two centuries. The Spanish stage was very characteristic, very original among all drama in that, more than the ancient drama, more than in the plays of Shakespeare himself, it was essentially lyrical, or, to express the fact more clearly, it was based on a continual mixture of the lyric and the dramatic; also it nearly always laid stress on the sentiment and the susceptibility of honour, “the point of honour,” as it was called, and upon its laws, which were severe, tyrannical, and even cruel. These two principal characteristics gave it a distinct aspect differing from all the other European theatres. Without going back to the confused origins and without expressing much interest in the Spanish drama until the religious dramas of the _autos sacramentales_(which continued their career until the seventeenth century), it is necessary, first, to note, at the close of the fifteenth century, the celebrated _Celestine_ of Ferdinand de Rojas, a spirited work, unmeasured, enormous, unequal, at times profoundly licentious, at times attaining a great height of moral exaltation, and also at times farcical and at others deeply pathetic. _Celestine_ was translated several times in various languages, and especially in Italy and France was as much appreciated as in Spain.
CALDERON.–In the seventeenth century (after Lope de Vega) came Calderon. Almost as prolific as Lope, author of at least two hundred plays, some authorities say a thousand, Calderon was first prodigiously inventive, then he was dogmatic, moralising, almost a preacher. Whether in his religious plays, in his love dramas, in his cap and sword tragedies, even in his comedies and highly complicated intrigues, the great sentiments of the Spanish soul–honour, faith, the inviolability of the oath, loyalty, fidelity, the spirit of great adventures–broaden, animate and elevate the whole work. With Calderon the titles are always indicative of the subject. His most celebrated plays are: _In this Life All Is Truth and Falsehood_, _Life is a Dream_, _The Devotion to the Cross_, _The Lady before All_, _The Mayor of Zamalea_, _Love after Death_, _The Physician of his Own Honour_.
ALARCON.–Alarcon comes nearer to us owing to his regular and almost classic compositions. Nevertheless he was a man of imagination and humour with an adequate dramatic force. His tragedies must be mentioned: _What Is Worth Much Costs Much_, _Cruelty through Honour_, _The Master of Stars_; his comedies, _The Examination of Husbands_, and that charming _The Truth Suspected_, from which Corneille derived _The Liar_.
TIRSO DE MOLINA.–Tirso de Molina was another prodigy of dramatic literature, and his fellow-countrymen assert that he wrote three hundred dramas, of which sixty-five are in existence. All Spanish dramatists were unequal, he more especially; he passed from grossness to sublimity with surprising facility and ease. He particularly delighted in ingeniously complicated intrigue, in surprises, and in unexpected theatrical touches. Yet _The Condemned in Doubt_ is a sort of moral epopee, adapted to the stage, possessing real beauty and not without depth. His most celebrated drama, in so far as it has aroused direct or indirect imitations, and owing to the type he was the first to suggest, was _The Jester of Seville_: that is, Don Juan. All European literatures, utilising Don Juan, became tributaries to Tirso de Molina.
FRANCIS DE ROJAS; CASTRO; DIAMANTE.–Francis de Rojas, who must not be confused with Ferdinand de Rojas, author of _Celestine_, though possessing less spirit than his predecessors, is nevertheless a distinguished dramatic poet. The French of the seventeenth century freely pilfered from him. Thomas Corneille borrowed a goodly portion of his _Bertrand de Cigarral_, Scarron a large part of his _Jodelet_, Le Sage an episode in _Gil Blas_. If only for their connection with the French drama, William de Castro and Diamante must be noticed. William de Castro wrote a play, _The Exploits of the Cid in Youth_, which Corneille knew and which he imitated in his celebrated tragedy, adding incomparable beauty. Diamante in his turn imitated Corneille very closely in _The Son who Avenges his Father_. Voltaire, mistaken in dates, believed Corneille had imitated Diamante.
PORTUGUESE WRITERS.–In Portugal the sixteenth century was the golden age. Poets, dramatists, historians, and moralists were extremely numerous; several possessed genius and many displayed great talent. Among lyrical poets were Bernardin Ribeiro, Christoval Falcam, Diogo Bernardes, Andrade Caminha, Alvarez do Oriente, Rodriguez Lobo. Ribeiro wrote eclogues half in narrative or dialogue, half lyrical. He also produced a romance intersected with tales (Le Sage in his _Gil Blas_ thus wrote, as is known, and in this only imitated the Spaniards), entitled _The Innocent Girl_, which often evinces great refinement.
Christoval Falcam was also bucolic, but his eclogues often ran to nine hundred verses. He also wrote _Voltas_, which are lyric poems suitable for setting to music. Diogo Bernardes also wrote eclogues and letters collected under the title of the _Lyma_. The Lyma is a river. To Bernardes the Lyma was what the Lignon was to D’Urfe in his _Astrea_.
Caminha, a court poet decidedly analogous to the French Saint-Gelais, possessed dexterity and happy phraseology. Eclogues, elegiacs, epitaphs, and epistles were the ordinary occupations of his muse.
Alvarez do Oriente has left a great romanesque work, a medley of prose and verse entitled _Portugal Transformed_ (_Lusitania transformanda_), which is extremely picturesque apart from its idylls and lyrical poems.
Lobo was highly prolific. He was author of pastoral romances, medleys of verse and prose (_The Strange Shepherd_, _The Spring_, _Disenchantment_), a great epic poem (_The Court at the Village_), in prose conversations on moral and literary questions which have remained classic in Portugal, as well as romances and eclogues.
EPIC POETS.–The most notable epic poets were Corte-Real, Manzinho, Pereira de Castro, Francisco de Saa e Menezes, Dona de la Lacerda, and, finally, the great Camoens. Corte-Real, a writer of the highest talent, was author of an epic which we would style a romance in verse, although founded on fact, upon _The Shipwreck of Sepulveda_ and her husband Lianor. The varied and picturesque narrative is often pathetic. It would be more so, to us at least, were it not for the incessant intervention of pagan deities.
Francisco de Saa e Menezes sang of the great Albuquerque and of _Malaca Conquered_. He mingled amorous and romantic tales with narratives and descriptions of battles. He possessed the sense of local colour and brilliant imagination; he has been accused of undue negligence with regard to correction.
Dona de la Lacerda, professor of Latin literature to the children of Philip III, although born at Porto, wrote nearly always in Spanish. The _Spain Delivered_ (from the Moors), an epic poem, is her chief work; she also composed comedies and various poems in Spanish. On rare occasions she wrote in Portuguese prose.
CAMOENS.–The glory of these sound poets is effaced by that of Camoens. Exiled in early youth for a reason analogous to the one which occasioned the banishment of Ovid, a soldier who lost an eye at Ceuta, wandering in India, shipwrecked and, according to tradition, only saving his poem which he held in one hand whilst swimming with the other, he returned to Portugal after sixteen years of exile, assisting at the struggles, decline, and subjection of his country, dying (1579) at the moment when for a time Portugal ceased to have a political existence. He wrote _The Lusiad_ (that is the Portuguese), which was the history of Vasco da Gama and of his expedition to India. The description of Africa, the Cape of Tempests (the Cape of Good Hope), with the giant Adamaston opposing the passage, and the description of India were the foundation of the narrative. Episodes narrated by individuals, as in Virgil and as in the Spanish romance, formed an internal supplement, and thus was narrated almost all the history of Portugal, and so it came to pass that the love of Inez de Castro and of Don Pedro formed part of the story of Vasco da Gama. Camoens was a powerful narrator, a magnificent orator in verse, and, above all, a very great painter. He evinced curious taste, even as compared with his contemporaries, such as the continual commingling of mythological divinities with Christian truths: for instance, a prayer addressed by Vasco to Jesus Christ was granted by Venus. It may also be observed that the poem lacked unity and was only a succession of poems. But, as Voltaire said, “The art of relating details, by the pleasure it affords, can make up for all the rest; and that proves the work to be full of great beauties, since for two hundred years it has formed the delight of a clever race who must be well aware of its faults.”
DRAMATISTS.–The principal Portuguese dramatists were Saa de Miranda, Antonio Ferreira, Gil Vicente. Saa de Miranda was a philosophical poet or, to express it more correctly, a poet with ideas; he broke with the eternal idylls, eclogues, bucolics, and pastorals of his predecessors without declining to furnish excellent examples, but more often aiming elsewhere and higher. He also reformed the versification, introducing metres employed in other languages, but hitherto unused in his tongue. He wrote odes, epistles after the manner of Horace, sonnets, lyric poems in Latin, and epic compositions. In all this portion of his work he may be compared to Ronsard. Finally, he wrote two comedies in prose–_The Strangers_ and _The Villalpandios_ (the _Villalpandios_ are Spanish soldiers, who have a recognised position in comedy). His mind was one of the most elevated and best stored with classic literature that Portugal ever produced.
FERREIRA.–Ferreira, who wrote lyric poems, elegiac poems, and especially epistles, by which he gained for himself the name of the Portuguese Horace, was more particularly a dramatist. He created _Farcas_, which must not be regarded as farces, but as dramatic poems in which the profane and religious are interwoven; he wrote _The Bristo_, a popular comedy; _The Jealous One_, which was perhaps the earliest comedy of character ever produced in Europe, and finally, a tragedy, _Inez de Castro_, the national tragedy, a tragedy so orthodox and regular in form that the author felt bound to introduce a chorus in the classic manner; it is charged with pathos and handled with much art.
GIL VICENTE.–Gil Vicente, a prolific poet who wrote forty-two dramatic pieces, two thirds in Spanish and the rest in Portuguese, touched every branch of theatrical literature; he produced religious plays (_autos_), tragedies, romantic dramas, comedies, and farces. His chief works are _The Sibyl Cassandra_, _The Widow_, _Amadis de Gaule_, _The Temple of Apollo_, _The Boat of Hell_. His comedies possess a vivacity that is Italian rather than Portuguese. Tradition has it that Erasmus learnt Portuguese for the sole purpose of reading the comedies of Gil Vicente.
CHAPTER XV
THE EIGHTEENTH AND NINETEENTH CENTURIES: FRANCE
Of the Seventeenth and Eighteenth Centuries: Fontenelle, Bayle. Of the Eighteenth: Poets: La Motte, Jean Baptiste Rousseau, Voltaire, etc. Prose Writers: Montesquieu, Voltaire, Buffon, Jean Jacques Rousseau, etc. Of the Nineteenth Century: Poets: Lamartine, Victor Hugo, Musset, Vigny, etc.; Prose Writers: Chateaubriand, Michelet, George Sand, Merimee, Renan, etc.
FONTENELLE.–The eighteenth century, which was announced, and announced with great precision, by La Bruyere, was inaugurated by his enemy Fontenelle. Fontenelle, nephew of Corneille, began with despicable trifles, eclogues, operas, stilted tragedies, letters of a dandy, so he might be justly regarded as an inferior Voiture. Very soon, because he possessed the passion of the eighteenth century for science and free-thought, he showed himself to be a serious man, and because he had wit he showed himself an amusing serious man, which is rare. His _Dialogues of the Dead_ were very humorous and, at the same time, in many passages profound; he wrote his _Discourses on the Plurality of_ (Habitable) _Worlds_; then because he was perpetual secretary of the Academy of Sciences, came his charming and often astonishing _Eulogies of Sages_, which ought to be regarded as the best existent history of science in the seventeenth century and in the eighteenth up to 1740.
BAYLE.–Bayle, a Frenchman who lived in Holland on account of religion, a journalist and lexicographer, in his _News of the Republic of Letters_ and in his immense _Dictionary_, gave proof of broad erudition about all earthly questions, especially philosophical and religious, guiding his readers to absolute scepticism. Fontenelle and Bayle are the two heralds who opened the procession of the eighteenth century. Successively must now be examined first the poets and then the prose writers of the first half of that era.
LA MOTTE.–La Motte, as celebrated in his own time as he is forgotten in ours, was lyricist, fabulist, dramatic orator, epical even after a certain fashion. He wrote odes that were deadly cold, fables that were often quite witty but affected and laboured, comedies sufficiently mediocre, of which _The Magnificent Lover_ was the most remarkable, and a tragedy, _Inez de Castro_, which was excellent and enjoyed one of the greatest successes of the French stage. Finally, becoming the partisan of the modernists against the classicists, he abridged the _Iliad_ of Homer into a dozen books as frigid as his own lyric poems. He had parodoxical ideas in literature, and, being a poet, or believing himself one, he considered that verse enervated thought and that sentiments should only be written in prose. It was against these tendencies that Voltaire so vigorously reacted.
J.B. ROUSSEAU; POMPIGNAN.–Beside La Motte, being more gifted as a poet, Jean Baptiste Rousseau was conspicuous. He wrote lyrical poems which were cold as lyrics but were well composed and, sometimes at least, attained a certain degree of eloquence. From Malherbe to Lamartine, lyrical poetry was almost completely neglected by French poets, or at least very badly treated. Jean Baptiste Rousseau had the advantage of being nearly solitary and for approximately century was regarded as the greatest national lyrical poet.
Le Franc de Pompignan has endured much ridicule, not the least being for a certain naive vanity perceptible directly he passed from the south to the north of France; but he had some knowledge; he was acquainted with Hebrew, then a sufficiently rare accomplishment, and he was an assiduous student of classic literature. His tragedy, _Dido_, succeeded; his _Sacred Songs_ enjoyed popularity, no matter what Voltaire might say, and deserved their success; in his odes, which were too often cold, he rarely succeeded–only once triumphantly, in his ode on the death of Jean Baptiste Rousseau.
THE _HENRIADE_.–So far as poets, strictly speaking, were concerned, the foregoing are all that have to be indicated in the first half of the eighteenth century, except the ingenious and frigid _Henriade_ of Voltaire.
DRAMATIC POETS.–To counterbalance, the dramatic poets are numerous and not without merit. Let us recall _Inez de Castro_ by De la Motte. Campistron, the feeble pupil of Racine (and, moreover, there could be no pupil of Racine, so original was the latter, so closely was his genius associated with his mind), perpetrated numerous tragedies and operas which enjoyed the success obtained by all imitative works: that is, a success which arouses no discussion, and which today appears to be the climax of tediousness.
CREBILLON.–Crebillon followed, vigorous, energetic, violently shaking the nerves, master of horror and of terrors, not lacking some analogy with Shakespeare, but without delicacy or depth, never even giving a thought to being psychological or a moralist, writing badly and to a certain extent meriting the epithet of “the barbarian” bestowed on him by Voltaire.
The latter was infatuated with the drama, having the feeling for beautiful themes and for new and original topics, adapting them to the stage with sufficient aptitude, delighting, in addition, in pomp, mimicry, and decorativeness, and causing tragedy to lean towards opera, which in his day was no bad thing; but weak in execution, never creating characters because he could not escape from himself, as moderate in psychology and morality as Crebillon himself and replacing analysis of passion by these and philosophical commonplaces. He left tragic dramas which until about 1815 enjoyed success, but which then fell into a disregard from which there is no probability they will ever emerge.
COMIC POETS.–The comic poets of this period were highly agreeable. The most notable were Destouches, Regnard, La Chaussee. Destouches was the very type of the comic writers of the eighteenth century already alluded to, who took a portrait by La Bruyere and turned it into a comedy, and that is what was called a comedy of character. Thus he wrote _The Braggart_, _The Irresolute_, _The Ungrateful_, _The Backbiter_, _The Spendthrift_, etc. Sometimes he took pains to be a trifle more original, as in _The False Agnes_, _The Married Philosopher_; sometimes he borrowed a subject from a foreign literature and adapted it fairly dexterously for the Gallic stage, as in _The Impertinent Inquisitive_, taken from _Don Quixote_ and _The Night Drum_, borrowed from an English author. His versification was dexterous and correct without possessing other merit.
REGNARD.–Regnard, on the contrary, was an original genius, though frequently imitative of Moliere. He possessed the comic spirit, gaiety, animation, the sense of drollery, and a prodigious capacity for humorous verse of great flexibility and incredible ease, highly superior in point of form to that of Boileau and even of Moliere, for he suggests a Scarron perfected by Moliere himself and by the Italian poets. Still alive and probably imperishable are such works as _The Gamester_, _The Universal Legatee_, _The Unexpected Return_.
THE DRAMA: LA CHAUSSEE.–La Chaussee possessed a vein of the popular novel, the serial, as we should say, and at the same time a taste for the stage. The result was he created a new species, which in itself is no small achievement. He created _the drama_: that is, the stage-play wherein common people, and no longer kings and princes, affect us by their misfortunes. This has been called by all possible names; when it is a comedy it is described as a tearful comedy; when a tragedy, as a dramatic tragedy. This is the drama we have known in France for a hundred and fifty years; such as it already existed in the sixteenth century under the title of the morality play, such as Corneille, who foresaw everything, anticipated and predicted in his preface to _Don Sancho_: “I would rather say, sir, that tragedy should excite pity and fear, and that in its essentials, since there is necessity for definition. Now if it be true that this latter feeling is only excited in us when we see those like ourselves suffer, and that their misfortunes put us in fear of similar calamities, is it not also true that we can be more strongly moved by disasters arriving to people of our own rank, having resemblance to ourselves, than by the picture of the overthrow from their thrones of the greatest monarchs, who can have no relation to us except in so far as we are susceptible to the passions that overwhelmed them, which is not always the case?” This domestic tragedy La Chaussee wrote in verse, which is not against French rules, and which has been done by dramatists a hundred and twenty years later; but it is probably an error, being even more unlikely that citizens would express themselves in metre than that kings and heroes should give utterance with a certain solemnity which entails rhythm. Thus he wrote _The Fashionable Prejudice_, _The School of Friends_, _Melanide_, very pathetic, _The School of Mothers_, etc. It must be stated that he wrote his plays in verse somewhat systematically; he had made his first appearance in literature by a defence of versification against the doctrines of La Motte.
PIRON.–According to the old system, but in original verse, Piron, after having met with scant success in tragedy, wrote the delicious _Metromania_ which, with _The Turcaret_ of Le Sage, _The Bad Man_ of Gresset, the masterpieces of Marivaux and the two great comedies of Beaumarchais rank among the seven or eight superior comedies produced in the eighteenth century.
GREAT PROSE WRITERS: MONTESQUIEU.–In prose, writers, and even great writers, were abundant at this period. Immediately after Fontenelle and Bayle appeared Montesquieu, sharp, malicious, satirical, already profound, in _The Persian Letters_, a great political philosopher and master of jurisprudence in _The Spirit of Laws_, a great philosophical historian in _The Grandeur and Decadence of the Romans_. The influence of Montesquieu on Voltaire, no matter what the latter may have said; on Rousseau, however silent the latter may have been about it; on Mably, on Raynal, on the encyclopaedists, on a large portion of the men in the French Revolution, on the greatest minds of the nineteenth century, has been profound and difficult to measure. As writer he was concise, collected, and striking, seeking the motive and often finding it, seeking the formula and invariably finding it–Tacitus mingled with Sallust.
LE SAGE; SAINT-SIMON.–In considering Le Sage and Saint-Simon, it is not, perhaps, the one who is instinctively thought of as a novelist who really was the greater romancer. They each wrote at the same time as Montesquieu. Saint-Simon narrated the age of Louis XIV as an eyewitness, both with spirit and with a feeling for the picturesque that were alike inimitable, expressed in a highly characteristic fashion, which was often incorrect, always incredibly vigorous, energetic, and masterful. Le Sage, in the best of all French styles, that of the purest seventeenth century, narrated Spanish stories in which he mingled many observations made in Paris, and set the model for the realistic novel in his admirable _Gil Blas_. As a dramatist he will be dealt with later.
MARIVAUX; PREVOST.–Marivaux also essayed the realistic novel in his very curious _Marianne_, full of types drawn from contemporary life and drawn with an art which was less condensed but as exact as that of La Bruyere, and in his _Perverted Peasant_ with an art which was more gross, but still highly interesting.
The Abbe Prevost, much inferior, much overpraised, generally insipid in his novels of adventure, once found a good theme, _Manon Lescaut_, and, though writing as badly as was his wont, evoked tears which, it may be said, still flow.
HISTORY: DRAMA.–In history Voltaire furnished a model of vivid, rapid, truly epic narration in his _History of Charles XII_, and an example, at least, of exact documentation and of contemporaneous history studied with zeal and passion in his _Philosophical Letters on England_. On the stage, in prose there were the pretty, witty, and biting light comedies of Dancourt, De Brueys and Palaprat, and Dufresny, then the delicious drama, at once fantastic and perceptive, romantic and psychological, of Marivaux, who, in _The Legacy_, _The False Confidences_, _The Test_, _The Game of Love and of Shame_, showed himself no less than the true heir of Racine and the only one France has ever had.
VOLTAIRE.–In the second portion of the eighteenth century, Voltaire reigned. He multiplied historical studies (_Century of Louis XIV_), philosophies (_Philosophical Dictionary_), dramas (_Zaire_, _Merope_, _Alzire_ [before 1750], _Rome Saved_, _The Chinese Orphan_, _Tancred_, _Guebres_, _Scythia_, _Irene_), comedies (_Nanine_, _The Prude_), romances(_Tales and Novels_), judicial exquisitions (the Calas, Labarre, and Sirven cases), and articles, pamphlets, and fugitive papers on all conceivable subjects.
THE PHILOSOPHERS.–But the second generation of philosophers was now reached. There was Diderot, philosophical romancer (_The Nun_, _James the Fatalist_), art critic(_Salons_), polygraphist (collaboration in the Encyclopaedia); there was Jean Jacques Rousseau, philosophic novelist in _The New Heloise_, publicist in his discourse against _Literature and the Arts and Origin of Inequality_, schoolmaster in his _Emilius_, severe moralist in his _Letters to M. d’Alembert on the Spectacles_, half-romancer, charming, impassioned, and passion-inspiring in the autobiography which he called his Confessions; there was Duclos, interesting though rather tame in his _Considerations on the Manners of this Century_; there was Grimm, an acute and subtle critic of the highest intelligence in his _Correspondence_; then Condillac, precise, systematic, restrained, but infinitely clear in the best of diction in his _Treatise on the Sensations_; finally Turgot, the philosophical economist, in his _Treatise on the Formation and Distribution of Wealth_.
BUFFON; MARMONTEL; DELILLE.–Philosophy, meditation on great problems, filled almost all the literary horizon, while scientific literature embraced a score of illustrious representatives, of which the most impressive was Buffon, with his _Natural History_. Nevertheless, in absolute literature there were also names to cite: Marmontel gave his _Moral Tales_, his _Belisarius_, his _Incas_, and his _Elements of Literature_.
Delille, with his translation in verse of the _Georgics_ of Virgil, commenced a noble poetic career which he pursued until the nineteenth century; Gilbert wrote some mordant satires which recalled Boileau, and some farewells to life which are among the best lyrics; Saint Lambert sang of _The Seasons_ with felicity, and Roucher treated the same theme with more vivid sensibility.
THE STAGE.–On the stage, a little before 1750. Gresset gave his _Wicked Man_, which was witty and in such felicitous metre that it carried the tradition of great comedy in verse; Diderot, theorist and creator of the drama in prose, followed La Chaussee, and produced _The Father of a Family_, _The Natural Son_, and _Is He Good, Is He Bad_? being the portrait of himself. Innumerable dramas by the fertile Mercier and a score of others followed, including Beaumarchais, himself a devotee of the drama, but only able to succeed in comedy, wherein he gave his two charming works, _The Barber of Seville_ and _The Marriage of Figaro_.
ANDRE CHENIER.–Almost on the verge of the Revolution, quite unexpectedly there emerged a really great poet, Andre Chenier, marvellously gifted in every way. As the poet of love he recalled Catullus and Tibullus; in political lyricism he suggested d’Aubigny, though with more fervour; as elegiac poet he possessed a grace that was truly Grecian; as the poet of nature he employed the large manner of Lucretius; in polemical prose he was remarkably eloquent. Struck down whilst quite young amid the turmoil of the Revolution, he bequeathed immortal fragments. No doubt he would have been the greatest French poet between Racine and Lamartine.
BERNARDIN DE SAINT-PIERRE.–In prose, his contemporary, Bernardin de Saint-Pierre, primarily was a man of genius, since he wrote that immortal idyllic romance, _Paul and Virginia_; subsequently he became a gracious and amiable pupil of Jean Jacques Rousseau, being smitten with the sentiment of nature in his _Harmonies of Nature_; finally he attained a great importance in literary history as the creator of exotic literature through the descriptions he wrote of many lands: Asia, African isles traversed and studied by him, Russia, and Germany.
THE REVOLUTIONARY ORATORS.–During the revolutionary period may be pointed out the great orators of the Assembly: Mirabeau, Barnave, Danton, Vergniaud, Robespierre; the ill-starred authors of national songs: Marie Joseph Chenier; the author of the _Marseillaise_, Rouget de Lisle, who only succeeded on the day that he wrote it. And so we reach the nineteenth century.
THE NINETEENTH CENTURY.–At the commencement of a century which was so brilliant from the literary aspect, James Delille was despotic: his earlier efforts have already been attended to. A skilled versifier, but without fire or many ideas, he made cultured translations from Virgil and Milton, wrote perennially descriptive poems, such as _The Man in the Fields_, _The Gardens_, etc., and a witty satirical poem on _Conversation_, which, in our opinion, was the best thing he wrote.
GREAT POETS: LAMARTINE.–Great poets were to come. Aroused, without doubt, by the poetic genius of the prose writer Chateaubriand, the first generation of the romantics was formed by Lamartine, Victor Hugo, and Alfred de Vigny. Romanticism was the preponderance of imagination and sensibility over reason and observation. Lamartine rebathed poetry in its ancient and eternal sources: love, religion, and the sentiment of nature. In his _Meditations_, his _Harmonies_, and his _Contemplations_, he reawoke feelings long slumbering, and profoundly moved the hearts of men. In _Jocelyn_ he widened his scope, and, emerging from himself, narrated, as he imagined it, the story of the soul of a priest during the Revolution, and subsequently in the obscurity of a rural parish; in _The Fall of an Angel_ he reverted to the life of primaeval man as he conceived it to be when humanity was still barbarous. Apart from his poetic works, he wrote _The History of the Girondins_, which is a romanesque history of almost the whole of the Revolution, some novels, some autobiographic episodes, and a few discourses on literature.
VICTOR HUGO.–Victor Hugo, though less sensitive than Lamartine but more imaginative, began with lyrical poems which were somewhat reminiscent of the classical manner, then went on to pictures of the East, thence to meditations on what happened to himself, and on all subjects (_Autumn Leaves_, _Lights and Shades_); next, in full possession of his genius, he dwelt on great philosophical meditations in his _Contemplations_, and in _The Legend of the Centuries_ gave that epic fragment which is a picture of history. His was one of the most powerful imaginations that the world has ever seen, as well as a _creator of style_, who made a style for himself all in vision and colour, and also in melody and orchestration. Although in prose he lacked one part of his resources, he utilised the rest magnificently, and _Notre Dame_ and _The Miserable_ are works which excite admiration, at least in parts. Later, he will be dealt with as a dramatist.
ALFRED DE VIGNY.–Alfred de Vigny was the most philosophical of these three great poets, though inferior to the other two in creative imaginativeness. He meditated deeply on the existence of evil on earth, on the misfortunes of man, and the sadness of life, and his most despairing songs, which were also his most beautiful, left a profound echo in the hearts of his contemporaries. Some of his poems, such as _The Bottle in the Sea_, _The Shepherd’s House_, _The Fury of Samson_, are among the finest works of French literature.
MUSSET; THEOPHILE GAUTIER.–The second generation of romanticism, which appeared about 1830, possessed Alfred de Musset and Theophile Gautier as chief representatives. They bore little mutual resemblance, be it said, the former only knowing how to sing about himself, his pleasures, his illusions, his angers, and, above all, his sorrows, always with sincerity and in accents that invariably charmed and sometimes lacerated; the latter, supremely artist, always seeking the fair exterior and delighting in reproducing it as though he were a painter, a sculptor, or a musician, and excellent and dexterous in these “transpositions of art,” whether they were in verse or prose.
THE PROSE WRITERS: CHATEAUBRIAND.–The French prose writers of this first half of the nineteenth century were emphatically poets, as had also already been Jean Jacques Rousseau and even Buffon. Imagination, sensibility, and the sentiment for nature were the mistresses of their faculties. Chateaubriand was the promoter of all the literary movement of the nineteenth century, alike in prose and poetry. He was a literary theorist, an epic poet in prose, traveller, polemist, orator. His great literary theory was in _The Genius of Christianity_, and consisted in supporting that all true poetic beauties lay in Christianity. His epic poems in prose are _The Natchez_, a picture of the customs of American Indians, _The Martyrs_, a panorama of the struggle of paganism at its close and of Christianity at its beginning; his travels were _The Voyage in America_ and _The Itinerary from Paris to Jerusalem_. Member of the parliamentary assemblies, ambassador and minister, he wrote and spoke in the most brilliant and impassioned manner on the subjects that he took up. Finally, falling back on himself, as he had never ceased to do more or less all through his career, he left, in his marvellous _Memoirs from Beyond the Tomb_, a posthumous work which is, perhaps, his masterpiece. His infinitely supple and variegated style formed a continuous artistic miracle, so harmonious and musical was it more musical even than that of Jean Jacques Rousseau.
MME. DE STAEL.–At the same time, though she died long before him, Mme. de Stael, by her curious and interesting, though never affecting, novels, _Delphine_ and _Corinne_, by her dissertations on various serious subjects, by her work on Germany, which initiated the French into the habits and literature of neighbours they were ill acquainted with, also directed the minds of men into new paths, and she was prodigal of ideas which she had almost always borrowed, but which she thoroughly understood, profoundly reconsidered, and to which she imparted an appearance of originality even in the eyes of those who had given them to her.
THE HISTORIANS.–Even the historians of this first half of the century were poets: Augustin Thierry, who reconstituted scientifically but imaginatively _The Merovingian Era_; Michelet, pupil of Vico, who saw in history the development of an immense poem and cast over his account of the Middle Ages the fire and feverishness of his ardent imagination and tremulous sensitiveness. Guizot and Thiers can be left apart, for they were statesmen by education and, although capable of passion, sought the one to rationally generalise and “discipline history,” as was said, the other solely to capture facts accurately and to set them out clearly in orderly fashion.
THE PHILOSOPHERS.–The philosophers were not sheltered from this contagion, and if Cousin and his eclectic school loved to attach themselves to the seventeenth century both in mind and style, Lamennais, first in his _Essay on Indifference_, then in his _Study of a Philosophy_ and in his _Words of a Believer_, impassioned, impetuous, and febrile, underwent the influence of romanticism, but also gave to the romantics the greater portion of the ideas they put in verse.
THE NOVEL.–As for the novel, it was only natural that it should be deeply affected by the spirit of the new school. George Sand wrote lyrical novels, if the phrase may be used–and, as I think, it is here the accurate expression–entitled _Indiana_, _Valentine_, _Mauprat_, and especially _Lelia_. She was to impart wisdom later on.
It even happened that a mind born to see reality in an admirably accurate manner, saw it so only by reason of the times, or at least partly due to the times, associated it with a magnifying but deforming imagination converting it into a literary megalomania; and this was the case of Honore de Balzac.
NON-ROMANTIC LITERATURE.–Nevertheless, as was only natural, throughout the whole of the romantic epoch there was an entire literature which did not submit to its influence, and simply carried on the tradition of the eighteenth century. In poetry there was the witty, malicious, and very often highly exalted Beranger, whose songs are almost always excellent songs and sometimes are odes; and there was also the able and dexterous but frigid Casimir Delavigne. In prose there was Benjamin Constant, supremely oratorical and a very luminous orator, also a religious philosopher in his work _On Religions_, and a novelist in his admirable _Adolphus_, which was semi-autobiographical.
Classical also were Joseph de Maistre, in his political considerations (_Evenings in St. Petersburg_), and, in fiction, Merimee, accurate, precise, trenchant, and cultured; finally in criticism, Sainte-Beuve, who began, it is true, by being the theorist and literary counsellor of romanticism, but who was soon freed from the spell, almost from 1830, and became author of _Port Royal_. Though possessing a wide and receptive mind because he was personified intelligence, he was decisively classical in his preferences, sentiments, ideas, and even in his style.
Stendhal, pure product of the eighteenth century, and even exaggerating the spirit of that century in the dryness of his soul and of his style, a pure materialist writing with precision and with natural yet intentional nakedness, possessed valuable gifts of observation, and in his famous novel, _Red and Black_, in the first part of the _Chartreuse of Parma_, and in his _Memoirs of a Tourist_, knew how to draw characters with exactness, sobriety, and power, and to set them in reliefs that were remarkably rare.
THE STAGE.–The drama was very brilliant during this first half of the nineteenth century. The struggle was lively for thirty or thirty-five years between the classicists and the romanticists; the classics defending their citadel, the French stage, much more by their polemics in the newspapers than by the unimportant works which they brought to the _Comedie francaise_, the romantics here producing nearly all the plays of Hugo (_Hernani_, _Marion de Lorme_, _Ruy Blas_, _The Burghers_, etc.), and the works of Vigny(_Othello_, _Marshal d’Ancre_), as well as the dramas of Dumas (_Henry III and his Court_, etc.). Between the two schools, both of which were on the stage nearer to the modern than to the antique, the dexterous Casimir Delavigne, with almost invariable success, gave _Marino Faliero_, _Louis XI_, _The Children of Edward_, _Don Juan of Austria_, and _Princess Aurelia_, which was pretty, but without impassioned interest.
A veritable dramatic genius, although destitute of style, of elevation of thought and of ideas, but a prodigious constructor of well-made plays, was Eugene Scribe, who, by his dramas and comedies, as well as the libretti of operas, was the chief purveyor to the French stage between 1830 and 1860.
ROMANTICISM AND REALISM.–So far as pure literature was concerned, the second half of the nineteenth century was divided between enfeebled but persistent romanticism and realism. Theophile Gautier, in 1853, gave his _Enamels and Cameos_, his best poetic work, and later (1862) his _Captain Fracasse_. Hugo wrote his _Miserables_, the second and third _Legends of the Centuries_, _Songs of the Streets and the Woods_, etc.
A third romantic generation, of which Theodore de Banville was the most brilliant representative, and which proceeded far more from Gautier than from Hugo or De Musset, pushed verbal and rhythmic virtuosity to the limit and perhaps beyond. Then great or highly distinguished poets appeared.
FAMOUS POETS.–Leconte de Lisle, philosophical poet, attracted by Indian literature, by pessimism, by the taste for nothingness, and the thirst for death, forcing admiration by his sculptural form and majestic rhythm; Sully-Prudhomme, another philosopher, especially psychological, manipulating the lyrical elegy with much art and, above all, infusing into it a grave, sad, and profound sensibility which would have awakened the affection and earned the respect of Catullus, Tibullus, and Lucretius; Francis Coppee, the poet of the joys and sorrows of the lowly, a dexterous versifier too, and possessed of a sincerity so candid as to make the reader forget that there is art in it; Baudelaire, inquisitive about rare and at times artificial sensations, possessing a laborious style, but sometimes managing to produce a deep impression either morbid or lugubrious, considered by an entire school which is still extant as one of the greatest poets within the whole range of French literature; Verlaine, extremely unequal, often detestable and contemptible, but suddenly charming and touching or revealing a religious feeling that suggests a clerk of the Middle Ages; Catulle Mendes, purely romantic, wholly virtuoso, but an astonishingly dexterous versifier. To these poets some highly curious literary dandies set themselves in opposition, being desirous of renovating the poetic art by ascribing more value to the sound of words than to their meaning, striving to make a music of poesy and, in a general way–which is their chief characteristic–being difficult to understand. They gave themselves the name of symbolists, and accepted that of decadents; they regarded Stephen Mallarme either as their chief or as a friend who did them honour. This school has been dignified by no masterpieces and will probably ere long be forgotten.
REALISTIC LITERATURE.–Confronting all this literature, which had a romantic origin even when it affected scorn of the men of 1830, was developed an entire realistic literature composed almost exclusively of writers in prose, but of prose imbued with poetry written by some who had read the romantics and who would not have achieved what they did had romanticism not already existed, a fact which they themselves have not denied, and which is now almost universally accepted. Flaubert, whose masterpiece, _Madame Bovary_, is dated 1857, was very precisely divided between the two schools; he possessed the taste for breadth of eloquence, for the adventurous, and for Oriental colouring, and also the taste for the common, vulgar, well visualised, thoroughly assimilated truth, tersely portrayed in all its significance. But as he has succeeded better, at least in the eyes of his contemporaries, as a realist than as a man with imagination, he passes into history as the founder of realism always conditionally upon considering Balzac as possessing much of the vigorous realism which provided the impulse and furnished models.
NATURALISM.–From the realism of Flaubert was born the naturalism of Zola, which is the same thing more grossly expressed. Also by his energetic, violent, and tenacious talent, as well as by a weighty though powerful imagination, he exercised over his contemporaries a kind of fascination which it would be puerile to regard as an infatuation for which there was no cause.
More refined and even extremely delicate, though himself also fond of the small characteristic fact; possessed, too, with a graceful and gracious sensibility, Alphonse Daudet often charmed and always interested us in his novels, which are the pictorial anecdotes of the Parisian world at the close of the second Empire and the opening of the third Republic.
The brothers De Goncourt also enjoyed notable success, being themselves absorbed in the exceptional deed and the exceptional character whilst possessing a laboured style which is sometimes seductive because of its unlooked-for effects.
THE POSITIVISTS.–Two great men filled with their renown an epoch already so brilliant; namely, Renan and Taine, both equally historians and philosophers. Renan composed _The History of the Children of Israel_ and _The Origins of Christianity_, as well as various works of general philosophy, of which the most celebrated is entitled _Philosophical Dialogues_. Taine wrote the history of _The Origins of Contemporary France_: that is, the history of the French Revolution, and sundry philosophical works of which the principal are _On Intelligence_ and _The French Philosophers of the Eighteenth Century_. Both were “positivists,” that is to say, elevating Auguste Comte, who has his place in the history of philosophy, but not here, because he was not a good writer; both were positivists, but Renan possessed a lively and profound sense of the grandeur and the moral beauty of Christianity, Taine being imbued with more philosophic strictness. Renan, with infinite flexibility of intelligence, applied himself to understand thoroughly and always (with some excess) to bring home to us the great figures of the Bible, the Gospels, and the early Christians, as well as their foes down to the time of Marcus Aurelius. Further, he affirmed science to possess _unique_ value in his _Future of Science_; elsewhere, under the similitude of “dreams,” he indulged in conceptions, hypotheses, and metaphysical imaginations which were voluntarily rash and infinitely seductive. As always happens, he possessed the style of his mind, supple, sinuous, undulating, astonishingly plastic, insatiable, and charming, evoking the comment, “That is admirably done and it is impossible to know with what it is done.”
TAINE.–Taine, more rigid, accumulating documents and methodically arranging them in a method that refuses to be concealed, advances in a rectilineal order, step by step, and with a measured gait, to a solid truth which he did not wish to be either evasive or complex. Highly pessimistic and a little affecting to be so, just as Renan was optimistic and much affected being so, he believed in the evil origin of man and of the necessity for him to be drastically curbed if he is to remain inoffensive. He has written a history of the Revolution wherein he has refused admiration and respect for the crimes then committed, which is why posterity now begins to be very severe upon him. His learned style is wholly artificial, coloured without his being a colourist, composed of metaphors prolonged with difficulty, yet remaining singularly imposing and powerful. He was a curious philosopher, an upright, severe, and rather systematic historian, solid and laboriously original as a writer.
BRUNETIERE.–Brunetiere, of the great French thinkers before our contemporaneous epoch, was critic, literary historian, philosopher, theologian, and orator. As critic, he defended classic tradition against bold innovations, and, especially, moral literature against licentious or gross literature; as a literary historian he renovated literary history by the introduction of the curious, audacious, and fruitful theory of evolution, and his _Manual of the History of French Literature_ was a masterpiece; as philosopher he imparted clearness and precision into the system of Auguste Comte, whose disciple he was; as theologian, exceeding Comte and utilising him, he added weight to Catholicism in France by finding new and decisive “reasons for belief”; as orator he raised his marvellously eloquent tones in France, Switzerland, and America, making more than a hundred “fighting speeches.” Since the death of Renan and Taine, he has been the sole director of French thought, which he continues to guide by his books and by the diffusion of his thought among the most vigorous, serious, and meditative minds of the day.
THE CONTEMPORANEOUS DRAMA.–The drama, since 1850, has been almost exclusively written in prose. Emil Augier, however, composed some comedies and dramas in verse and in verse particularly suited to the stage; but the major portion of his work is in prose, whilst Alexander Dumas and Sardou have written exclusively in prose. Augier and Dumas came from Balzac, and remained profoundly realistic, which was particularly suitable to authors of comedy. They studied the manners of the second Empire and depicted them wittily; they studied the social questions which agitated educated minds at this time and drew useful inspiration. Augier leant towards good middle-class common-sense, which did not prevent him from having plenty of wit. Dumas was more addicted to paradox and possessed as much ability as his rival. Victorien Sardou, as dexterous a dramatic constructor as Scribe, and who sometimes rose above this, dragged his easy tolerance from the grand historic drama to the comedy of manners, to light comedy and to insignificant comedy with prodigious facility and inexhaustible fertility.
The most admired living authors, whom we shall be content only to name because they are living, are poets: Edmond Rostand, author of _Loiterings_; Edmond Haraucourt, author of _The Naked Soul_ and _The Hope of the World_; Jean Aicard, author of _Miette el Nore_; Jean Richepin, author of _Cesarine_, _Caresses_, _Blasphemies_, etc.; in fiction, Paul Bourget, Marcel Prevost, Rene Bazin, Bordeaux, Boylesve, Henri de Regnier; in history, Ernest Lavisse, Aulard, Seignobos, D’Haussonville; in philosophy, Boutroux, Bergson, Theodule Ribot, Fouillee, Izoulet; in the drama, Paul Hervieu, Lavedan, Bataille, Brieux, Porto-Riche, Bernstein, Wolff, Tristan Bernard, Edmond Rostand, author of _Cyrano de Bergerac_ and of _The Aiglon_; as orators, Alexander Ribot, De Mun Poincare, Jaures, etc.
CHAPTER XVI
THE EIGHTEENTH AND NINETEENTH CENTURIES: ENGLAND
Poets of the Eighteenth Century: Pope, Young, MacPherson, etc.: Prose Writers of the Eighteenth Century: Daniel Defoe, Richardson, Fielding, Swift, Sterne, David Hume. Poets of the Nineteenth Century: Byron, Shelley, the Lake Poets: Prose Writers of the Nineteenth Century: Walter Scott, Macaulay, Dickens, Carlyle.
THE REIGN OF QUEEN ANNE: POETS.–As in France, the eighteenth century (the age of Queen Anne) was in England richer in prose than in poetry. As poets, however, must be indicated Thomson, descriptive and dramatic, whose profound feeling for nature was not without influence over French writers of the same century; Pope, descriptive writer, translator, moralist, elegiast, very intelligent and highly polished, whose _Essay on Criticism_ and _Essay on Man_ were remarkably utilised by Voltaire; Edward Young, whose _Night Thoughts_ enjoyed the same prodigious success in France as in England, and who contributed in no small measure to darken and render gloomy both literatures; MacPherson, who invented _Ossian_, that is, pretended poems of the Middle Ages, a magnificent genius, be it said, who exercised considerable influence over the romanticism of both lands; Chatterton, who trod the same road, but with less success, yet was valued almost equally by the French romantic poets, and to them he has owed at least the consolidation of his immortality; Cowper, elegiac and fantastic, with a highly humorous vein; Crabbe, a very close observer of popular customs and an ingenious novelist in verse, quite analogous to the Dutch painters; Burns, a peasant-poet, sensitive and impassioned, yet at the same time a careful artist moved by local customs, the manifestations of which he saw displayed before his eyes.
PROSE WRITERS.–The masters of prose (some being also true poets) were innumerable. Daniel Defoe, journalist, satirist, pamphleteer, was the author of the immortal _Robinson Crusoe_; Addison, justly adored by Voltaire, author of a sound tragedy, _Cato_, is supremely a scholar, the acute, sensible, and extremely thoughtful editor of _The Spectator_; Richardson, the idol of Diderot and of Jean Jacques Rousseau, enjoyed a European success with his sentimental and virtuous novels, _Pamela_, _Clarissa Harlowe_, and _Sir Charles Grandison_. As a critic and as a personality, Dr. Johnson has no parallel in any age or land. His _Dictionary_ is famous despite its faults, and _Rasselas_, which he wrote to pay for his mother’s funeral, can still be read.
Fielding, who began by being only the parodist of Richardson, in _Joseph Andrews_, ended by becoming an astounding realistic novelist, the worthy predecessor of Thackeray and Dickens in his extraordinary _Tom Jones_. The amiable Goldsmith, more akin to Richardson, wrote that idyllic novel _The Vicar of Wakefield_, the charm of which was still felt throughout Europe only fifty years ago. Laurence Sterne, the most accurate representative of English _humour_, capable of emotion more especially ironical, jester, mystificator, has both amused and disquieted several generations with his _Sentimental Journey_ and his fantastical, disconcerting and enchanting _Tristram Shandy_. Swift, horribly bitter, a corrosive and cruel satirist, sadly scoffed at all the society of his time in _Gulliver’s Travels_, in _Drapier’s Letters_, in his _Proposal to Prevent the Children of the Poor Being a Burden_, in a mass of other small works wherein the most infuriated wrath is sustained under the form of calm and glacial irony.
HISTORY.–History was expressed in England in the eighteenth century by David Hume, who chronicled the progress of the English race from the Middle Ages until the eighteenth century; by Robertson, who similarly handled the Scotch and who narrated the reign of Charles V; and by Gibbon, so habitually familiar with the French society of his time, who followed the Romans from the first Caesars to Marcus Aurelius, then more closely from Marcus Aurelius to the epoch of Constantine, and finally the Byzantine Empire up to the period of the Renaissance. The imposing erudition, the rather pompous but highly distinguished style of the author, without counting his animosity to Christianity, caused him to enjoy a great success, especially in France. The work of Gibbon is regarded as the finest example of history written by an Englishman.
THE STAGE.–The stage in England in the eighteenth century sank far below its importance in the seventeenth century; yet who does not know _She Stoops to Conquer_ of Goldsmith, and that sparkling and lively comedy, _The School for Scandal_, by Sheridan? Note, as an incomparable journalist, the famous and mysterious Junius, who, from 1769 to 1772, waged such terrible war on the minister Grafton.
THE LAKE POETS.–In the nineteenth century appeared those poets so familiar to the French romanticists, or else the latter pretended they were, who were termed the lake poets, because they were lovers of the countryside; these were Southey, Coleridge, and Wordsworth. Southey was an epic and elegiac poet, whilst he was also descriptive; Coleridge, philosopher, metaphysician, a little nebulous and disordered, had very fine outbursts and some lamentable falls. Wordsworth was a most distinguished lyricist. Lord Byron did not acquire honour by so roughly handling Southey and Wordsworth.
THE ROMANTIC EPOCH.–The two greatest English poets of the romantic period were Lord Byron and Shelley; the former the admirable poet of disenchantment and of despair, gifted with a noble epic genius, creating and vitalising characters which, it must be confessed, differed very little from one another, but an exalted figure with a grand manner and, except Shakespeare, the only English poet who exercised genuine influence over French literature; the latter an idealistic poet of the most suave delicacy, aerial and heavenly, despite a private life of the utmost disorder and even guilt, he is one of the most perfect poets that ever lived; a great tragedian, too, in his _Cenci_, quite unknown in France until the middle of the nineteenth century, but since then the object of a sort of adoration among the larger number of Gallic poets and lovers of poetry.
Keats was as romantic as Shelley and Byron, both in spite of and because of his desperate efforts to assimilate the Grecian spirit. He dreamt of its heroes and its ancient myths, but there is in him little that is Grecian except the choice of subjects, and it is not in his grand poem, _Endymion_, nor even in that fine fragment, _Hyperion_, that can be found the real melancholy, sensitive, and modern poet, but in his last short poems, _The Skylark_, _On a Greek Vase_, _Autumn_, which, by the exquisite perfection of their form and the harmonious richness of the style, take rank among the most beautiful songs of English lyrism.
Nearer to us came Tennyson, possessing varied inspiration, epical, lyrical, elegiac poet, always exalted and pure, approaching the classical, and himself already a classic.
Swinburne, almost exclusively lyrical, a dexterous and enchanting versifier, inspired by the ancient Greeks, generally evinced a highly original poetic temperament, and Dante Rossetti, imbued with mediaeval inspiration, possessed a powerful and slightly giddy imagination. Far less known on the Continent, where critics may feel surprise at her necessary inclusion here, is his sister, Christina Rossetti. Her qualities as a poet are a touching and individual grace, much delicate spontaneity, a pure and often profound emotion, and an instinct as a stylist which is almost infallible. The Brownings form a celebrated couple, and about them Carlyle, on hearing of their marriage, observed that he hoped they would understand each other. Elizabeth Barrett Browning, translator of Aeschylus of Theocritus, gave proof in her original poetry of a vigour, of a vividness, and of a vigorous exuberance of similes that often recalled the Elizabethans, but marred her work by declamatory rhetoric and by a tormented and often obscure style. Robert Browning was yet more difficult, owing to his overpowering taste for subtlety and the bizarre–nay, even the grotesque. Almost ignored, or at least unappreciated by his contemporaries, he has since taken an exalted place in English admiration, which he owes to the depth, originality, and extreme richness of his ideas, all the more, perhaps, because they lend themselves to a number of differing interpretations.
THE NOVELISTS.–In prose the century began with the historical novelist, Sir Walter Scott, full of lore and knowledge, reconstructor and astonishing _reviver_ of past times, more especially the Middle Ages, imbuing all his characters with life, and even in some measure vitalising the objects he evoked. None more than he, not even Byron, has enjoyed such continuous appreciation with both French romantic poets and also the French reading public. The English novel, recreated by this great master, was worthily continued by Dickens, both sentimentalist and humourist, a jesting, though genial, delineator of the English middle class, and an accurate and sympathetic portrayer of the poor; by Thackeray, supreme railer and satirist, terrible to egoists, hypocrites, and snobs; by the prolific and entertaining Bulwer-Lytton, by the grave, philosophical, and sensible George Eliot, by Charlotte Bronte, author of the affecting _Jane Eyre_, etc., and her sister Emily, whose _Wuthering Heights_ has been almost extravagantly admired.
Four other great prose writers presenting startling divergences from one another cannot be omitted. Belonging to the first half of the nineteenth century, Charles Lamb earned wide popularity by his _Tales from Shakespeare_ and _Poetry for Children_, written in collaboration with his sister Mary; but he was specially remarkable for his famed _Essays of Elia_, wherein he affords evidence of possessing an almost paradoxical mixture of delicate sensibility and humour, as well as of accurate and also fantastic observation. Newman, at first an English clergyman but subsequently a cardinal, after conversion to the Catholic Church, appears to me hardly eligible in a history of literature in which Lamennais has no place. As a literary man, his famous sermons at Oxford and the Tracts exercised much influence, and provoked such impassioned and prodigious revival of old doctrines and of an antiquated spirit in religion; then the _Apologia Pro Vita Sua_, _Callista_, and the _History of Arianism_, revealed him as a master of eloquence.
Ruskin, as art critic, in his bold volumes illumined with remarkable beauty of styles, _Modern Painters_, _The Seven Lamps of Architecture_, and _The Stones of Venice_, formulated the creed and the school of pre-Raphaelitism. At the time of the religious revival at Oxford, he preached a servile imitation of antiquity by the path of the Renaissance, appealing to national and mediaeval inspiration, not without _naivete_ and archaism, none the less evident because he was sincere and mordant. George Meredith, who died only in 1910, was a prolific and often involved novelist (the Browning of prose), with a passion for metaphors and a too freely expressed eclectic scorn for the multitude. Withal, he had a profound knowledge of life and of the human soul; impregnated with humour, he was creator of unforgettable types of character, and no pre-occupation of his epoch was foreign to his mind, whilst his vigorous realism always obstinately refused to turn from contemporaneous themes, or to gratify the needs and aspirations which it was possible to satisfy. His epitaph might well be that he understood the women of his time, a rare phenomenon.
HISTORY.–History could show two writers of absolute superiority–Macaulay (_History of England since James II_), an omnivorous reader and very brilliant writer, and Carlyle, the English Michelet, feverish, passionate, incongruous, and disconcerting, who dealt with history as might a very powerful lyrical poet.
CHAPTER XVII
THE EIGHTEENTH AND NINETEENTH CENTURIES: GERMANY
Poets of the Eighteenth Century: Klopstock, Lessing, Wieland; Prose Writers of the Eighteenth Century: Herder, Kant. Poets of the Nineteenth Century: Goethe, Schiller, Koerner.
THE AGE OF FREDERICK THE GREAT.–In the literature of Germany the eighteenth century, sometimes designated under the title of the age of Frederick the Great, forms a Renaissance or, if preferred, an awakening after a fairly prolonged slumber. This awakening was assisted by a quarrel, sufficiently unimportant in itself, but which proved fertile, between Gottsched, the German Boileau, and Bodmer, the energetic vindicator of the rights of the imagination. In the train of Bodmer came Haller, like him a Swiss; then suddenly Klopstock appeared. _The Messiah_ of Klopstock is an epic poem; it is the history of Jesus Christ from Cana to the Resurrection, with a crowd of episodes dexterously attached to the action. The profound religious sentiment, the grandeur of the setting, the beauty of the scenes, the purity and nobility of the sermon, the Biblical colour so skilfully spread over the whole composition, cause this vast poem, which was perhaps unduly praised on its first appearance, to be one of the finest products of the human mind, even when all reservations are made. German literature revived. As for Gottsched, he was vanquished.
THE POETS.–Then came Lavater, Buerger, Lessing, Wieland. Lavater, a Swiss like Haller, is remembered for his scientific labours, but was also a meritorious poet, and his naive and moving _Swiss Hymns_ have remained national songs; Buerger was a great poet, lyrical, impassioned, personal, original, vibrating; Wieland, the Voltaire of Germany, although he began by being the friend of Klopstock, witty, facile, light, and graceful, whose _Oberon_ and _Agathon_ preserve the gift of growing old felicitously, is one of the most delightful minds that Germany produced. Napoleon did him the honour of desiring to converse with him as with Goethe.
LESSING.–Lessing, personally, was a great author, and owing to the influence he exercised over his fellow-countrymen, he holds one of the noblest positions in the history of German literature. He was a critic, and in his _Dramaturgie of Hamburg_ and elsewhere, with all his strength, and often unjustly, he combated French literature to arrest the ascendency which, according to his indolent opinion, it exercised over the Germans; and in his _Laocooen_, with admirable lucidity, he made a kind of classification of the arts. As author, properly speaking, he wrote _Fables_ which to our taste are dry and cold; he made several dramatic efforts none of which were masterpieces, the best being _Minna von Barnhelm_ and _Emilia Galotti_, and a philosophical poem in dialogue (for it could hardly be termed drama), _Nathan the Sage_, which possessed great moral and literary beauties.
HERDER.–Herder was the Vico of Germany. Here was the historical philosopher, or rather the thoughtful philosopher on history. He did everything: literary criticism, works of erudition, translations, even personal poems, but his great work was _Ideas on the Philosophy of the History of Mankind_. This was the theory of progress in all its breadth and majesty, supported by arguments that are at least spacious and imposing. From Michelet to Quinet, on to Renan, every French author who has at all regarded the unity of the destinies of the human race has drawn inspiration from him. His broad, measured, and highly coloured style is on the level of the subject and conforms to it. Even in an exclusively literary history Kant must not be forgotten, because when he set himself to compose a moral dissertation, as, for example, the one upon lying, he took high rank as a writer.
THE GLORIOUS EPOCH.–Thus is reached the end of the eighteenth close on the beginning of the nineteenth century. In this intermediary epoch shone the most glorious hour of Teutonic literature. Simultaneously Iffland, Kotzebue, Koerner, Schiller, and Goethe were to the fore. This formed a great constellation. Iffland, actor, manager, and author, friend and protector of Schiller, wrote numerous dramas, the principal of which were _The Criminal through Ambition_, _The Pupil_, _The Hunters_, _The Lawyers_, _The Friends of the House_. He was realistic without being gloomy. He resembled the French Sedaine. Kotzebue, who was the friend of Catherine of Russia, subsequently disgraced by her, possessed a highly irritable and quarrelsome disposition, and was finally killed in 1819 as a reactionary by a Liberal student, did not fall far short of genius. He wrote a number of dramas and comedies. Those still read with pleasure are _Misanthropy and Repentance_, _Hugo Grotius_, _The Calumniator_, and _The Small German Town_, which has remained a classic.
KOeRNER.–Koerner, the “Tyrtaeus of Germany,” was simultaneously a brave soldier and a great lyrical poet who was killed on the battlefield of Gadebusch, wrote lyrical poems, dramas, comedies, farces, and, above all, _The Lyre and Sword_, war-songs imbued with splendid spirit.
SCHILLER.–Schiller is a vast genius, historian, lyrical poet, dramatic poet, critic, and in all these different fields he showed himself to be profoundly original. He wrote _The Thirty Years’ War_; odes, ballads, dithyrambic poems, such as _The Clock_, so universally celebrated; dissertations of philosophic criticism, such as _The God of Greece_ and _The Artists_; finally, a whole repertory of drama (the only point on which it is possible to show that he surpasses Goethe), in which may be remarked his first audacious and anarchical work, _The Brigands_, then the _Conjuration of Fieso_, _Intrigue and Love_, _Don Carlos_, _Wallenstein_ (a trilogy composed of _The Camp of Wallenstein_, _The Piccolomini_, _The Death of Wallenstein_), _Mary Stuart_, _The Betrothed of Messina_, _The Maid of Orleans_, _William Tell_. By his example primarily, and by his instruction subsequently (_Twelve Letters on Don Carlos_, _Letters on Aesthetic Education_, _The Sublime_, etc.), he exercised over literature and over German thought an influence at least equal, and I believe superior, to that of Goethe. He was united to Goethe by the ties of a profound and undeviating friendship. He died whilst still young, in 1805, twenty-seven years before his illustrious friend.
GOETHE.–Goethe, whom posterity can only put in the same rank as Homer, is even more universal genius, and has approached yet closer to absolute beauty. Of Franco-German education, he subsequently studied at Strasburg, commencing, whilst still almost a student, with the imperishable _Werther_, to which it may be said that a whole literature is devoted and, parenthetically, a literature diametrically opposed to what Goethe subsequently became. Then a journey through Italy, which revealed Goethe to himself, made him a man who never ceased to desire to combine classic beauty and Teutonic ways of thinking, and who was often magnificently successful. To put it in another way, Goethe in his own land is a Renaissance in himself, and the Renaissance which Germany had not known in either the sixteenth or seventeenth century came as the gift of Goethe. Immediately after his return from Italy he wrote _Tasso_ (of classic inspiration), _Wilhelm Meister_ (of Teutonic inspiration), _Iphigenia_ (classical), _Egmont_ (Teutonic), etc. Then came _Hermann and Dorothea_, which was absolutely classic in the simplicity of its plan and purity of lyric verse, but essentially modern in its picture of German customs; _The Roman Elegies_, _The Elective Affinities_, _Poetry and Truth_ (autobiography mingled with romance), _The Western Eastern Divan_, lyrical poems, and finally, the two parts of _Faust_. In the first part of _Faust_, Goethe was, and desired to be, entirely German; in the second, through many reveries more or less relative to the theme, he more particularly desires to depict the union of the German spirit with that of classical genius, which formed his own life, and led to _intelligent action_, which also was a portion of his existence. And for beauty, drama, pathos, ease, phantasy, and fertility in varied invention, nothing has ever surpassed if anything has even equalled the two parts of _Faust_ regarded as a single poem.
Apart from his literary labours, Goethe occupied himself with the administration of the little duchy of Weimar, and in scientific research, notably on plants, animals, and the lines in which he displayed marked originality. He died in 1832, having been born in 1749. His literary career extends over, approximately, sixty years, equal to that of Victor Hugo, and almost equal to that of Voltaire.
THE CONTEMPORANEOUS PERIOD.–After the death of Goethe, Germany could not maintain the same height. Once more was she glorified in poetry by Henry Heine, an extremely original witty traveller, in his _Pictures of Travel_, elegiac and deeply lyrical, affecting and delightful at the same time in _The Intermezzo_; by the Austrian school, Zedlitz, Gruen, and the melancholy and deep-thinking Lenau; in prose, above all, by the philosophers, Fichte, Hegel, Schopenhauer, Hartmann, and lastly Nietzsche–at once philosopher, moralist (after his own manner), and poet, with an astonishing imagination; by the historians Niebuhr (before 1830), Treitschke, Mommsen, etc. Germany seems to have drooped, so far as literature is concerned, despite some happy exceptions (especially in the drama: Hauptmann, Sudermann), since her military triumphs of 1870 and the consequent industrial activity.
CHAPTER XVIII
THE EIGHTEENTH AND NINETEENTH CENTURIES: ITALY
Poets: Metastasio, Goldoni, Alfieri, Monti, Leopardi. Prose Writers: Silvio Pellico, Fogazzaro, etc.
LITERARY AWAKENING.–After a long decadence, Italy, less overwhelmed politically than previously, reawoke about 1750. Once more poets came forward: Metastasio, author of tragedies and operas; Goldoni, a very witty and gay comic poet; Alfieri who revived Italian tragedy, which had been languishing and silent since Maffei, and who, like Voltaire in France, and with greater success, established a philosophical and political tribune; Foscolo, sufficiently feeble in tragedy but very touching and eloquent in _The Tombs_, inspired by Young’s _Night Thoughts_ and _The Letters of Jacob Ortis_, an interesting novelist and eloquently impassioned patriot; Monti, versatile and master of all recantations according to his own interests, but a very pure writer and not without brilliance in his highly diversified poems.
EMINENT PROSE WRITERS.–Italy could show eminent prose writers, such as those jurisprudent philanthropists Filangieri and Beccaria; critics and literary historians like Tiraboschi.
NINETEENTH CENTURY.–In the nineteenth century may first be found among poets that great poet, the unhappy Leopardi, the bard of suffering, of sorrow, and of despair; Carducci, a brilliant orator, imbued with vigorous passions; Manzoni, lyricist, dramatist, vibrating with patriotic enthusiasm, affecting in his novel _The Betrothal_, which became popular in every country in Europe. In prose, Silvio Pellico equally moved Europe to tears by his book _My Prisons_, wherein he narrated the experiences of his nine years of captivity at the hands of Austria, and found his agreeable tragedy of _Francesca da Rimini_ welcomed with flattering appreciation. Philosophy was specially represented by Gioberti, author of _The Treatise on the Supernatural_, and journalism by Giordani, eloquent, at times with grace and ease, and at others with harshness and violence.
THE MODERNS.–As these words were written came the news of the death of the illustrious novelist Fogazzaro. Gabriel d’Annunzio, poet and ultra-romantic novelist, and Mathilde Serao, an original novelist, pursue their illustrious careers.
CHAPTER XIX
THE EIGHTEENTH AND NINETEENTH CENTURIES: SPAIN
The Drama still Brilliant: Moratin. Historians and Philosophers, Novelists, Orators.
THE DRAMA. Since the middle of the seventeenth century, approximately, Spain has exercised less literary influence than in the preceding centuries. Nevertheless Spanish literature was not extinct; it was in the drama more especially that it was manifest. Candamo, Canizares, and Zamora all illumined the stage. Candamo devoted himself to the historical drama; his masterpiece in this type was _The Slave in Golden Chains_; Canizares, powerful satirist, displayed the comic spirit in his comedies of character; Zamora manipulated the comedy of intrigue with remarkable dexterity. Then came Vincente de la Huerta, skilful in combining the type of French tragedy with something of the ancient dramatic national genius; then Leandro Moratin (called Moratin the Younger to distinguish him from his father Nicholas), very imitative, no doubt, of Moliere, but in himself highly gifted, and of whose works can still be read with pleasure _The Old Man and the Young Girl_, _The New Comedy on the Coffee_, _The Female Hypocrite_, etc. He also wrote lyrical poems and sonnets. He lived long in France, where he became impregnated with Gallic classical literature.
PROSE.–Stronger and more brilliant at that period than the poetry, the prose was represented by Father Florez, author of _Ecclesiastical Spain_; by the Marquis de San Phillipo, author of the _War of Succession in Spain_; by Antonio de Solis, author of _The Conquest of Mexico_. In fiction there was the interesting Father Isla, a Jesuit, who gave a clever imitation of the _Don Quixote_ of Cervantes in his _History of the Preacher Friar Gerund_. He was well read and patriotic. He was convinced that Le Sage had taken all his _Gil Blas_ from various Spanish authors, and he published a translation of his novel under the title: _The Adventures of Gil Blas of Santiago, stolen from Spain and adopted in France by M. Le Sage, restored to their country and native tongue by a jealous Spaniard who will not endure being laughed at_. Another Jesuit (and it may be noticed that Spanish Jesuits of the seventeenth century often displayed a very liberal and modern mind), Father Feijoo, wrote a kind of philosophical dictionary entitled _Universal Dramatic Criticism_, a review of human opinions which was satirical, humorous, and often extremely able. The historian Antonio de Solis, who was also a reasonably capable dramatist, produced a _History of the Conquest of South America Known under the name of New Spain_, in a chartered style that was very elegant and even too elegant. Jovellanos wrote much in various styles. Among others he wrote one fine tragedy, _Pelagia_; a comedy presenting clever contrasts, entitled _The Honorable Criminal_; a mass of studies on the past of Spain, economic treatises, satires, and pamphlets. Engaged in all the historical and political vicissitudes of his country, he expired miserably in 1811, after having been alternately in exile and at the head of affairs.
ROMANTICISM.–In the nineteenth century Spanish romanticism was brought back in dignified poetic style by Angel Saavedra, Jose Zorilla, Ventura de la Vega, Ramon Campoamor, Espronceda. The latter especially counts among the great literary Spaniards, for he was poet and novelist, who wrote _The Student of Salamanca_ (Don Juan), _The Devil World_ (a kind of Faust), lyrical poems, and an historical novel, _Sancho Saldano_.
THE NINETEENTH CENTURY.–In drama, _Quintana_ also produced a _Pelagia_; the Duke of Rivas a _Don Alvaro_, which enjoyed an immediate success; Zorilla a _Don Juan_ entirely novel in conception; Martinez de la Rose tragedies, some in the classic vein, others with modern intrigue and comedies; Gutierrez, by his _Foundling_, attracted the attention of librettists of French operas; Breton de los Herreros wrote sparkling comedies, the multiplicity of which suggest Scribe. In prose, Fernan Caballero was a fertile novelist and an attentive and accurate painter of manner. Trueba (who was also an elegant poet) was an affecting idyllic novelist. Emilio Castelar, the Lamartine of Spain as he was called by Edmond About, was a splendid orator, thrown by the chances of political life for one hour at the head of national affairs, who raised himself to the highest rank in the admiration of his contemporaries by his novels: for instance, _The Sister of Charity_ and his works on philosophical history and the history of art, _Civilisation in the First Centuries of Christianity_, _The Life of Byron_, _Souvenirs of Italy_, etc. In our day, there have been numerous distinguished authors (and for us, at least, out of the crowd stands forth the dramatist Jose Echegaray), who carry on the glorious tradition of Spanish literature.
CHAPTER XX
RUSSIAN LITERATURE
Middle Ages. Some Epic Narratives. Renaissance in the Seventeenth Century. Literature Imitative of the West in the Eighteenth Century. Original Literature in the Nineteenth Century.