Виктор Мари Гюго
William Shakespeare
CHAPTER VIII
Too much matter is the evil of our day. Hence a certain dulness.
It is necessary to restore some ideal in the human mind. Whence shall you take your ideal? Where is it? The poets, the philosophers, the thinkers are the urns. The ideal is in Æschylus, in Isaiah, in Juvenal, in Alighieri, in Shakespeare. Throw Æschylus, throw Isaiah, throw Juvenal, throw Dante, throw Shakespeare into the deep soul of the human race.
Pour Job, Solomon, Pindar, Ezekiel, Sophocles, Euripides, Herodotus, Theocritus, Plautus, Lucretius, Virgil, Terence, Horace, Catullus, Tacitus, Saint Paul, Saint Augustine, Tertullian, Petrarch, Pascal, Milton, Descartes, Corneille, La Fontaine, Montesquieu, Diderot, Rousseau, Beaumarchais, Sedaine, André Chenier, Kant, Byron, Schiller, – pour all these souls into man. And with them pour all the wits from Æsop up to Molière, all the intellects from Plato up to Newton, all the encyclopædists from Aristotle up to Voltaire.
By that means, while curing the illness for the moment, you will establish forever the health of the human mind.
You will cure the middle class and found the people.
As we have said just now, after the destruction which has delivered the world, you will construct the edifice which shall make it prosper.
What an aim, – to make the people! Principles combined with science; every possible quantity of the absolute introduced by degrees into the fact; Utopia treated successively by every mode of realization, – by political economy, by philosophy, by physics, by chemistry, by dynamics, by logic, by art; union replacing little by little antagonism, and unity replacing union; for religion God, for priest the father, for prayer virtue, for field the whole earth, for language the verb, for law the right, for motive-power duty, for hygiene labour, for economy universal peace, for canvas the very life, for the goal progress, for authority liberty, for people the man, – such is the simplification.
And at the summit the ideal.
The ideal! – inflexible type of perpetual progress.
To whom belong men of genius, if not to thee, people? They do belong to thee; they are thy sons and thy fathers. Thou givest birth to them, and they teach thee. They open in thy chaos vistas of light. Children, they have drunk thy sap. They have leaped in the universal matrix, humanity. Each of thy phases, people, is an avatar. The deep essence of life, it is in thee that it must be looked for. Thou art the great bosom. Geniuses are begotten from thee, mysterious crowd.
Let them therefore return to thee.
People, the author, God, dedicates them to thee.
THE BEAUTIFUL THE SERVANT OF THE TRUE
CHAPTER I
Ah, minds, be useful! Be of some service. Do not be fastidious when it is necessary to be efficient and good. Art for art may be beautiful, but art for progress is more beautiful yet. To dream revery is well, to dream Utopia is better. Ah, you must think? Then think of making man better. You must dream? Here is the dream for you, – the ideal. The prophet seeks solitude, but not isolation. He unravels and untwists the threads of humanity, tied and rolled in a skein in his soul; he does not break them. He goes into the desert to think – of whom? Of the multitude. It is not to the forests that he speaks; it is to the cities, It is not at the grass bending to the wind that he looks; it is at man. It is not against lions that he wars; it is against tyrants. Woe to thee, Ahab! woe to thee, Hosea! woe to you, kings! woe to you, Pharaohs! is the cry of the great solitary one. Then he weeps.
For what? For that eternal captivity of Babylon, undergone by Israel formerly, undergone by Poland, by Roumania, by Hungary, by Venice to-day. He grows old, the good and dark thinker; he watches, he lies in wait, he listens, he looks, – ear in the silence, eye in the night, claw half stretched toward the wicked. Go and speak to him, then, of art for art, to that cenobite of the ideal. He has his aim, and he walks straight toward it; and his aim is this: improvement. He devotes himself to it.
He does not belong to himself; he belongs to his apostleship. He is intrusted with that immense care, – the progress of the human race. Genius is not made for genius, it is made for man. Genius on earth is God giving himself. Each time that a masterpiece appears, it is a distribution of God that takes place. The masterpiece is a variety of the miracle. Thence, in all religions, and among all peoples, comes faith in divine men. They deceive themselves, those who think that we deny the divinity of Christs.
At the point now reached by the social question, everything should be action in common. Forces isolated frustrate one another; the ideal and the real strengthen each other. Art necessarily aids science. These two wheels of progress should turn together.
Generation of new talents, noble group of writers and poets, legion of young men, O living posterity of my country, your elders love and salute you! Courage! let us consecrate ourselves. Let us devote ourselves to the good, to the true, to the just. In that there is goodness.
Some pure lovers of art, affected by a preoccupation which in its way has its dignity and nobleness, discard this formula, "Art for progress," the Beautiful Useful, fearing lest the useful should deform the beautiful. They tremble lest they should see attached to the fine arms of the Muse the coarse hands of the drudge. According to them, the ideal may become perverted by too much contact with reality. They are solicitous for the sublime if it is lowered as far as humanity. Ah, they are mistaken.
The useful, far from circumscribing the sublime, increases it. The application of the sublime to human things produces unexpected chefs-d'œuvre. The useful, considered in itself and as an element combining with the sublime, is of several kinds; there is the useful which is tender, and there is the useful which is indignant. Tender, it refreshes the unfortunate and creates the social epopee; indignant, it flagellates the wicked, and creates the divine satire. Moses hands the rod to Jesus; and after having caused the water to gush from the rock, that august rod, the very same, drives the vendors from the sanctuary.
What! art should grow less because it has expanded? No. One service more is one more beauty.
But people cry out: To undertake the cure of social evils; to amend the codes; to denounce the law to the right; to pronounce those hideous words, "bagne," "galley-slave," "convict," "girl of the town;" to control the police-registers; to contract the dispensaries; to investigate wages and the want of work; to taste the black bread of the poor; to seek labour for the work-girl; to confront fashionable idleness with ragged sloth; to throw down the partition of ignorance; to open schools; to teach little children how to read; to attack shame, infamy, error, vice, crime, want of conscience; to preach the multiplication of spelling-books; to proclaim the equality of the sun; to ameliorate the food of intellects and of hearts; to give meat and drink; to claim solutions for problems and shoes for naked feet, – that is not the business of the azure. Art is the azure.
Yes, art is the azure; but the azure from above, from which falls the ray which swells the corn, makes the maize yellow and the apple round, gilds the orange, sweetens the grape. I repeat it, one service more is one more beauty. At all events, where is the diminution? To ripen the beet-root, to water the potatoes, to thicken the lucern, the clover, and the hay; to be a fellow-workman with the ploughman, the vine-dresser, and the gardener, – that does not deprive the heavens of one star. Ah, immensity does not despise utility, and what does it lose by it? Does the vast vital fluid that we call magnetic or electric lighten less splendidly the depth of the clouds because it consents to perform the office of pilot to a bark, and to keep always turned to the north the small needle that is trusted to it, the huge guide? Is the aurora less magnificent, has it less purple and emerald, does it undergo any decrease of majesty, of grace and radiancy, because, foreseeing the thirst of a fly, it carefully secretes in the flower the drop of dew which the bee requires?
Yet, people insist: To compose social poetry, human poetry, popular poetry; to grumble against the evil and for the good; to promote public passions; to insult despots; to make rascals despair; to emancipate man before he is of age; to push souls forward and darkness backward; to know that there are thieves and tyrants; to clean penal cells; to empty the pail of public filth, – what! Polyhymnia, sleeves tucked up to do such dirty work? Oh, for shame!
Why not?
Homer was the geographer and the historian of his time, Moses the legislator of his, Juvenal the judge of his, Dante the theologian of his, Shakespeare the moralist of his, Voltaire the philosopher of his. No region, in speculation or in real fact, is shut to the mind. Here a horizon, there wings; right for all to soar.
For certain sublime beings, to soar is to serve. In the desert not a drop of water, – a horrible thirst; the wretched file of pilgrims drag along overcome. All at once, in the horizon, above a wrinkle in the sands, a griffin is seen soaring, and all the caravan cry out, "There is water there!"
What thinks Æschylus of art as art? Certainly, if ever a poet was a poet, it is Æschylus. Listen to his reply. It is in the "Frogs" of Aristophanes, line 1039. Æschylus speaks: —
"Since the beginning of time, the illustrious poet has served men. Orpheus has taught the horror of murder, Musæus oracles and medicine, Hesiod agriculture, and that divine Homer, heroism. And I, after Homer, I have sung Patroclus, and Teucer the lion-hearted; so that every citizen should try to resemble the great men."
As all the sea is salt, so all the Bible is poetry. This poetry talks politics at its own hours. Open 1 Samuel, chapter VIII. The Jewish people demand a king:
"…And the Lord said unto Samuel, Hearken unto the voice of the people in all that they say unto thee; for they have not rejected thee, but they have rejected me, that I should not reign over them… And Samuel told all the words of the Lord unto the people that asked of him a king. And he said, This will be the manner of the king that shall reign over you: He will take your sons and appoint them for himself, for his chariots, and to be his horsemen; and some shall run before his chariots… And he will take your daughters to be confectionaries, and to be cooks, and to be bakers. And he will take your fields, and your vineyards, and your oliveyards, even the best of them, and give them to his servants. And he will take your men-servants, and your maid-servants, and your goodliest young men, and your asses, and put them to his work. He will take the tenth of your sheep: and ye shall be his servants. And ye shall cry out in that day because of your king which ye shall have chosen you; and the Lord will not hear you in that day."
Samuel, we see, denies the right divine; Deuteronomy shakes the altar, – the false altar, let us observe; but is not the next altar always the false altar? "You shall demolish the altars of the false gods. You shall seek God where he dwells." It is almost Pantheism. Because it takes part in human things, is democratic here, iconoclast there, is that book less magnificent and less supreme? If poetry is not in the Bible, where is it?
You say: The muse is made to sing, to love, to believe, to pray. Yes and no. Let us understand each other. To sing whom? The void. To love what? One's self. To believe in what? The dogma. To pray to what? The idol. No, here is the truth: To sing the ideal, to love humanity, to believe in progress, to pray to the infinite.
Take care, you who are tracing those circles round the poet, you put him beyond man. That the poet should be beyond humanity in one way, – by the wings, by the immense flight, by the sudden possible disappearance in the fathomless, – is well; it must be so, but on condition of reappearance. He may depart, but he must return. Let him have wings for the infinite, provided he has feet for the earth, and that, after having been seen flying, he is seen walking. Let him become man again, after he has gone out of humanity. After he has been seen an archangel, let him be once more a brother. Let the star which is in that eye weep a tear, and that tear be the human tear. Thus, human and superhuman, he shall be the poet. But to be altogether beyond man, is not to be. Show me thy foot, genius, and let us see if, like myself, thou hast earthly dust on thy heel.
If thou hast not some of that dust, if thou hast never walked in my pathway, thou dost not know me and I do not know thee. Go away. Thou believest thyself an angel, thou art but a bird.
Help from the strong for the weak, help from the great for the small, help from the free for the slaves, help from the thinkers for the ignorant, help from the solitary for the multitudes, – such is the law, from Isaiah to Voltaire. He who does not follow that law may be a genius, but he is only a useless genius. By not handling the things of the earth, he thinks to purify himself; he annuls himself. He is the refined, the delicate, he may be the exquisite genius; he is not the great genius. Any one, roughly useful, but useful, has the right to ask on seeing that good-for-nothing genius: "Who is this idler?" The amphora which refuses to go to the fountain deserves the hooting of the pitchers.
Great is he who consecrates himself! Even when overcome, he remains serene, and his misery is happiness. No, it is not a bad thing for the poet to meet face to face with duty. Duty has a stern resemblance to the ideal. The act of doing one's duty is worth all the trial it costs. No, the jostling with Cato is not to be avoided. No, no, no; truth, honesty, teaching the crowds, human liberty, manly virtue, conscience, are not things to disdain. Indignation and emotion are but one faculty turned toward the two sides of mournful human slavery; and those who are capable of anger are capable of love. To level the tyrant and the slave, what a magnificent effort! Now, the whole of one side of actual society is tyrant, and all the other side is slave. To straighten this out will be a wonderful thing to accomplish; yet it will be done. All thinkers must work with that end in view. They will gain greatness in that work. To be the servant of God in the march of progress and the apostle of God with the people, – such is the law which regulates the growth of genius.
CHAPTER II
There are two poets, – the poet of caprice and the poet of logic; and there is a third poet, a component of both, amending them one by the other, completing them one by the other, and summing them up in a loftier entity, – the two statures in a single one. The third is the first. He has caprice, and he follows the wind. He has logic, and he follows duty. The first writes the Canticle of Canticles, the second writes Leviticus, the third writes the Psalms and the Prophecies. The first is Horace, the second is Lucan, the third is Juvenal. The first is Pindar, the second is Hesiod, the third is Homer.
No loss of beauty results from goodness. Is the lion less beautiful than the tiger, because it has the faculty of merciful emotion? Does that jaw which opens to let the infant fall into the hands of the mother deprive that mane of its majesty? Does the vast noise of the roaring vanish from that terrible mouth because it has licked Androcles? The genius which does not help, even if graceful, is deformed. A prodigy without love is a monster. Let us love! let us love!
To love has never hindered from pleasing. Where have you seen one form of the good excluding the other? On the contrary, all that is good is connected. Let us, however, understand each other. It does not follow that to have one quality implies necessarily the possession of the other; but it would be strange that one quality added to another should make less. To be useful, is but to be useful; to be beautiful is but to be beautiful; to be useful and beautiful is to be sublime. That is what Saint Paul is in the first century, Tacitus and Juvenal in the second, Dante in the thirteenth, Shakespeare in the sixteenth, Milton and Molière in the seventeenth.
We have just now recalled a saying become famous: "Art for art." Let us, once for all, explain ourselves in this question. If faith can be placed in an affirmation very general and very often repeated (we believe honestly), these words, "Art for art," would have been written by the author of this book himself. Written? Never! You may read, from the first to the last line, all that we have published; you will not find these words. It is the opposite which is written throughout our works, and, we insist on it, in our entire life. As for these words in themselves, how far are they real? Here is the fact, which several of our contemporaries remember as well as we do. One day, thirty-five years ago, in a discussion between critics and poets on Voltaire's tragedies, the author of this book threw out this suggestion: "This tragedy is not a tragedy. It is not men who live, it is sentences which speak in it! Rather a hundred times 'Art for art!'" This remark turned, doubtless involuntarily, from its true sense to serve the wants of discussion, has since taken, to the great surprise of him who had uttered it, the proportions of a formula. It is this opinion, limited to "Alzire" and to the "Orpheline de la Chine," and incontestable in that restricted application, which has been turned into a perfect declaration of principles, and an axiom to inscribe on the banner of art.
This point settled, let us go on.
Between two verses, the one by Pindar, deifying a coachman or glorifying the brass nails of the wheel of a chariot, the other by Archilochus, so powerful that, after having read it, Jeffreys would leave off his career of crimes and would hang himself on the gallows prepared by him for honest people, – between these two verses, of equal beauty, I prefer that of Archilochus.
In times anterior to history, when poetry is fabulous and legendary, it has a Promethean grandeur. What composes this grandeur? Utility. Orpheus tames wild animals; Amphion builds cities; the poet, tamer and architect, Linus aiding Hercules, Musæus assisting Dædalus, poetry a civilizing power, – such is the origin. Tradition agrees with reason. The common-sense of peoples is not deceived in that. It always invents fables in the sense of truth. Everything is great in those magnifying distances. Well, then, the wild-beast-taming poet that you admire in Orpheus, recognize him in Juvenal.
We insist on Juvenal. Few poets have been more insulted, more contested, more calumniated. Calumny against Juvenal has been drawn at such long date that it lasts yet. It passes from one literary clown to another. These grand haters of evil are hated by all the flatterers of power and success. The mob of fawning sophists, of writers who have around the neck the mark of their slavery, of bullying historiographers, of scholiasts kept and fed, of court and school followers, stand in the way of the glory of the punishers and avengers. They croak around those eagles. People do not willingly render justice to the dispensers of justice. They hinder the masters and rouse the indignation of the lackeys. There is such a thing as the indignation of baseness.
Moreover, the diminutives cannot do less than help one another, and Cæsarion must at least have Tyrannion as a support The pedant snaps the ferules for the benefit of the satrap. There is for this kind of work a literary sycophancy and an official pedagogism. These poor, dear-paying vices; these excellent indulgent crimes; his Highness Rufinus; his Majesty Claudius; that august Madame Messalina who gives such beautiful fêtes, and pensions out of her privy purse, and who lasts and who is perpetuated, always crowned, calling herself Theodora, then Fredegonde, then Agnes, then Margaret of Burgundy, then Isabel of Bavaria, then Catherine de Medici, then Catherine of Russia, then Caroline of Naples, etc., – all these great lords, crimes, all these fine ladies, turpitudes, shall they have the sorrow of witnessing the triumph of Juvenal! No. War with the scourge in the name of sceptres! War with the rod in the name of the shop! That is well! Go on, courtiers, clients, eunuchs, and scribes. Go on, publicans and pharisees. You will not hinder the republic from thanking Juvenal, or the temple from approving Jesus.
Isaiah, Juvenal, Dante, – they are virgins. Observe their eyes cast down. There is chastity in the anger of the just against the unjust. The Imprecation can be as holy as the Hosanna; and indignation, honest indignation, has the very purity of virtue. In point of whiteness, the foam has no reason to envy the snow.
