« ElőzőTovább »
and morals ; poetry and arts superior for clearness, spirit, scope, truth, and beauty to all that have ever been known. If, once more, man, reduced to narrow conceptions, and deprived of all speculative refinement, is at the same time altogether absorbed and straitened by practical occupations, you will find, as in Rome, rudimentary deities, mere hollow names, serving to designate the trivial details of agriculture, generation, household concerns, etiquettes in fact of marriage, of the farm, producing a mythology, a philosophy, a poetry, either worth nothing or borrowed. Here, as everywhere, the law of mutual dependence comes into play. A civilisation forms a body, and its parts are connected with each other like the parts of an organic body. As in an animal, instincts, teeth, limbs, osseous structure, muscular envelope, are mutually connected, so that a change in one produces a corresponding change in the rest, and a clever naturalist can by a process of reasoning reconstruct out of a few fragments almost the whole body; even so in a civilisation, religion, philosophy, the organisation of the family, literature, the arts, make up a system in which every local change induces a general change, so that an experienced historian, studying some particular part of it, sees in advance and half predicts the character of the rest. There is nothing vague in this interdependence. In the living body the regulator is, first, its tendency to manifest a certain primary type ; then its necessity for organs whereby to satisfy its wants, and for harmony with itself. in order that it may live. In a civilisation, the regulator is the presence, in every great human creation, of a productive element, present also in other surrounding creations,—to wit, some faculty, aptitude, disposition, effective and discernible, which, being possessed of its proper character, introduces it into all the operations in which it assists, and, according to its variations, causes all the works in which it co-operates to vary also.
At this point we can obtain a glimpse of the principal features of human transformations, and begin to search for the general laws which regulate, not events only, but classes of events, not such and such religion or literature, but a group of literatures or religions. If, for instance, it were admitted that a religion is a metaphysical poem, accompanied by a belief; and remarking at the same time that there are certain epochs, races, and circumstances in which belief, the poetical and metaphysical faculty, are combined with an unwonted vigour; if we consider that Christianity and Buddhism were produced at periods of
Schelling, and Hegel, or the admirable boldness of brahminical and buddhistic speculation.
"I have endeavoured on several occasions to give expression to this law, notably in the preface to Essais de Critique et d'Histoire.
grand productions, and amid such miseries as raised up the fanatics of the Cévennes; if we recognise, on the other hand, that primitive religions are born at the awakening of human reason, during the richest blossoming of human imagination, at a time of the fairest artlessness and the greatest credulity; if we consider, also, that Mohammedanism appeared with the dawning of poetic prose, and the conception of national unity, amongst a people destitute of science, at a period of sudden development of the intellect, -we might then conclude that a religion is born, declines, is reformed and transformed according as circumstances confirm and combine with more or less exactitude and force its three generative instincts; and we should understand why it is endemic in India, amidst imaginative, philosophic, eminently fanatic brains; why it blossomed forth so strangely and grandly in the middle ages, amidst an oppressive organisation, new tongues and literatures; why it was aroused in the sixteenth century with a new character and heroic enthusiasm, amid universal regeneration, and during the awakening of the German races; why it breaks out into eccentric sects amid the rude American democracy, and under the bureaucratic Russian despotism; why, in fine, it is spread, at the present day, over Europe in such different dimensions and such various characteristics, according to the differences of race and civilisation. And so for every kind of human production—for literature, music, the fine arts, philosophy, science, statecraft, industries, and the rest. Each of these has for its direct cause a moral disposition, or a combination of moral dispositions: the cause given, they appear; the cause withdrawn, they vanish: the weakness or intensity of the cause measures their weakness or intensity. They are bound up with their causes, as a physical phenomenon with its condition, as the dew with the fall of the variable temperature, as dilatation with heat. There are such dualities in the moral as in the physical world, as rigorously bound together, and as universally extended in the one as in the other. Whatever in the one case produces, aiters, suppresses the first term, produces, alters, suppresses the second as a necessary consequence. Whatever lowers the temperature, deposits the dew. Whatever develops credulity side by side with poetical thoughts, engenders religion. Thus phenomena have been produced; thus they will be produced. As soon as we know the sufficient and necessary condition of one of these vast occurrences, our understanding grasps the future as well as the past. We can say with confidence in what circumstances it will reappear, foresee without rashness many portions of its future history, and sketch with care some features of its ulterior development.
VIII. History is now upon, or perhaps almost upon this footing, that it must proceed after such a method of research. The question propounded now-a-days is of this kind. Given a literature, philosophy, society, art, group of arts, what is the moral condition which produced it? what the conditions of race, epoch, circumstance, the most fitted to produce this moral condition? There is a distinct moral condition for each of these formations, and for each of their branches; one for art in general, one for each kind of art-for architecture, painting, sculpture, music, poetry; each has its special germ in the wide field of human psychology; each has its law, and it is by virtue of this law that we see it raised, by chance, as it seems, wholly alone, amid the miscarriage of its neighbours, like painting in Flanders and Holland in the seventeenth century, poetry in England in the sixteenth, music in Germany in the eighteenth. At this moment, and in these countries, the conditions have been fulfilled for one art, not for others, and a single branch has budded in the general barrenness. For these rules of human growth must history search ; with the special psychology of each special formation it must occupy itself; the finished picture of these characteristic conditions it must now labour to compose. No task is more delicate or more difficult; Montesquieu tried it, but in his time history was too new to admit of his success; they had not yet even a suspicion of the road necessary to be travelled, and hardly now do we begin to catch sight of it. Just as in its elements astronomy is a mechanical and physiology a chemical problem, so history in its elements is a psychological problem. There is a particular inner system of impressions and operations which makes an artist, a believer, a musician, a painter, a wanderer, a man of society; and of each the affiliation, the depth, the independence of ideas and emotions, are different: each has its moral history and its special structure, with some governing disposition and some dominant feature. To explain each, it would be necessary to write a chapter of esoteric analysis, and barely yet has such a method been rudely sketched. One man alone, Stendhal, with a singular bent of mind and a singular education, has undertaken it, and to this day the majority of readers find his books paradoxical and obscure : his talent and his ideas were premature; bis admirable divinations were not understood, any more than his profound sayings thrown out cursorily, or the astonishing justness of his perception and of his logic. It was not perceived that, under the exterior of a conversationalist and a man of the world, he explained the most complicated of esoteric mechanisms; that he laid his finger on the mainsprings; that he introduced into the history of the heart scientific processes, the art of notation, decomposition, deduction; that he first marked the fundamental causes of nationality, climate, temperament; in short, that he treated of sentiments as they should be treated, -in the manner of the naturalist, namely, and of the natural philosopher, who constructs classifications and weighs forces. For this very reason he was considered dry and eccentric: he remained solitary, writing novels, voyages, notes, for which he sought and obtained a score of readers. And yet we find in his books at the present day essays the most suitable to open the path which I have endeavoured to describe. No one has better taught us how to open our eyes and see, to see first the men that surround us and the life that is present, then the ancient and authentic documents, to read between the black and white lines of the pages, to recognise under the old impression, under the scribbling of a text, the precise sentiment, the movement of ideas, the state of mind in which they were written. In his writings, in Sainte-Beuve, in the German critics, the reader will see all the wealth that may be drawn from a literary work: when the work is rich, and one knows how to interpret it, we find there the psychology of a soul, frequently of an age, now and then of a race. In this light, a great poem, a fine novel, the confessions of a superior man, are more instructive than a heap of historians with their histories. I would give fifty volumes of charters and a hundred volumes of statepapers for the memoirs of Cellini, the epistles of St. Paul, the Tabletalk of Luther, or the comedies of Aristophanes. In this consists the importance of literary works : they are instructive because they are beautiful; their utility grows with their perfection; and if they furnish documents, it is because they are monuments. The more a book represents visible sentiments, the more it is a work of literature; for the proper office of literature is to take note of sentiments. The more a book represents important sentiments, the higher is its place in literature; for it is by representing the mode of being of a whole nation and a ' whole age, that a writer rallies round him the sympathies of an entire age and an entire nation. This is why, amid the writings which set before our eyes the sentiments of preceding generations, a literature, and notably a grand literature, is incomparably the best. It resembles that admirable apparatus of extraordinary sensibility, by which physicians disentangle and measure the most recondite and delicate changes of a body. Constitutions, religions, do not approach it in importance; the articles of a code and of a catechism only show us the spirit roughly and without delicacy. If there are any writings in which politics and dogma are full of life, it is in the eloquent discourses of the pulpit and the tribune, memoirs, unrestrained confessions; and all this belongs to literature: so that, in addition to itself, it has all the advantage of other works. It is then chiefly by the study of literatures that one may construct a moral history, and advance toward the knowledge of psychological laws, from which events spring.
I am about to write the history of a literature, and to seek in it for the psychology of a people: if I have chosen this one in particular, it is not without a reason. I had to find a people with a grand and complete literature, and this is rare: there are few nations who have, during their whole existence, really thought and written. Among the ancients, the Latin literature is worth nothing at the outset, then borrowed and imitative. Among the moderns, German literature is almost wanting for two centuries. Italian literature and Spanish literature end at the middle of the seventeenth century. Only ancient Greece, modern France and England, offer a complete series of great significant monuments. I have chosen England, because being yet alive, and subject to direct examination, it may be better studied than a destroyed civilisation, of which we retain but the scraps, and because, being different from France, it has in the eyes of a Frenchman a more distinct character. Besides, there is a peculiarity in this civilisation, that apart from its spontaneous development, it presents a forced deviation, it has suffered the last and most effectual of all conquests, and that the three - grounds whence it has sprung, race, climate, the Norman invasion, may be observed in its remains with perfect exactness; so well, that we may examine in this history the two most powerful moving, springs of human transformation, natural bent and constraining force, and we may examine them without uncertainty or gap, in a series of authentic and unmutilated memorials. I have endeavoured to define these primary springs, to exhibit their gradual effects, to explain how they have ended by bringing to light great political, religious, and literary works, and by developing the recondite mechanism whereby the Saxon