Виктор Мари Гюго
William Shakespeare
PART III. – CONCLUSION
AFTER DEATH. – SHAKESPEARE. – ENGLAND
CHAPTER I
In 1784, Bonaparte, then fifteen years old, arrived at the Military School of Paris from Brienne, being one among four under the escort of a minim priest. He mounted one hundred and seventy-three steps, carrying his small trunk, and reached, below the roof, the barrack chamber he was to inhabit. This chamber had two beds, and a small window opening on the great yard of the school. The wall was whitewashed; the youthful predecessors of Bonaparte had scrawled upon this with charcoal, and the new-comer read in this little cell these four inscriptions that we ourselves read thirty-five years ago: —
It takes rather long to win an epaulet. —De Montgivray.
The finest day in life is that of a battle. —Vicomte de Tinténiac.
Life is but a long falsehood. —Le Chevalier Adolphe Delmas.
All ends under six feet of earth. -Le Comte de la Villette.
By substituting for "an epaulet" "an empire," – a very slight change, – the above four inscriptions were all the destiny of Bonaparte, and a kind of "Mene Tekel Upharsin" written beforehand upon that wall. Desmazis, junior, who accompanied Bonaparte, being his room-mate, and about to occupy one of the two beds, saw him take a pencil (it is Desmazis who has related the fact) and draw beneath the inscriptions that he had just read a rough sketch of his house at Ajaccio; then, by the side of that house, without suspecting that he was thus bringing near the island of Corsica another mysterious island then hid in the deep future, he wrote the last of the four sentences: "All ends under six feet of earth."
Bonaparte was right. For the hero, for the soldier, for the man of the material fact, all ends under six feet of earth; for the man of the idea everything commences there.
Death is a power.
For him who has had no other action but that of the mind, the tomb is the elimination of the obstacle. To be dead, is to be all-powerful.
The man of war is formidable while alive; he stands erect, the earth is silent, siluit; he has extermination in his gesture; millions of haggard men rush to follow him, – a fierce horde, sometimes a ruffianly one; it is no longer a human head, it is a conqueror, it is a captain, it is a king of kings, it is an emperor, it is a dazzling crown of laurels which passes, throwing out lightning flashes, and allowing to be seen in starlight beneath it a vague profile of Cæsar. All this vision is splendid and impressive; but let only a gravel come in the liver, or an excoriation to the pylorus, – six feet of ground, and all is said. This solar spectrum vanishes. This tumultuous life falls into a hole; the human race pursues its way, leaving behind this nothingness. If this man hurricane has made some lucky rupture, like Alexander in India, Charlemagne in Scandinavia, and Bonaparte in ancient Europe, that is all that remains of him. But let some passer-by, who has in him the ideal, let a poor wretch like Homer throw out a word in the darkness, and die, – that word burns up in the gloom and becomes a star.
This vanquished one, driven from one town to another, is called Dante Alighieri, – take care! This exiled one is called Æschylus, this prisoner is called Ezekiel, – beware! This one-handed man is winged, – it is Michael Cervantes. Do you know whom you see wayfaring there before you? It is a sick man, Tyrtæus; it is a slave, Plautus; it is a labourer, Spinoza; it is a valet, Rousseau. Well, that degradation, that labour, that servitude, that infirmity, is power, – the supreme power, mind.
On the dunghill like Job, under the stick like Epictetus, under contempt like Molière, mind remains mind. This it is that shall say the last word. The Caliph Almanzor makes the people spit on Averroes at the door of the mosque of Cordova; the Duke of York spits in person on Milton; a Rohan, almost a prince, – "duc ne daigne, Rohan suis," – attempts to cudgel Voltaire to death; Descartes is driven from France in the name of Aristotle; Tasso pays for a kiss given a princess twenty years spent in a cell; Louis XV. sends Diderot to Vincennes; these are mere incidents; must there not be some clouds? Those appearances that were taken for realities, those princes, those kings melt away; there remains only what should remain, – the human mind on the one side, the divine minds on the other; the true work and the true workers; society to be perfected and made fruitful; science seeking the true; art creating the beautiful; the thirst of thought, torment and happiness of man; inferior life aspiring to superior life. Men have to deal with real questions, – with progress in intelligence and by intelligence. Men call to their aid the poets, prophets, philosophers, thinkers, the inspired. It is seen that philosophy is a nourishment and poetry a want. There must be another bread besides bread. If you give up poets, you must give up civilization. There comes an hour when the human race is compelled to reckon with Shakespeare the actor and Isaiah the beggar.
They are the more present that they are no longer seen. Once dead, these beings live.
What life did they lead? What kind of men were they? What do we know of them? Sometimes but little, as of Shakespeare; often nothing, as of those of ancient days. Has Job existed? Is Homer one, or several? Méziriac made Æsop straight, and Planudes made him a hunchback. Is it true that the prophet Hosea, in order to show his love for his country, even when fallen into opprobrium and become infamous, espoused a prostitute, and called his children Mourning, Famine, Shame, Pestilence, and Misery? Is it true that Hesiod ought to be divided between Cumæ in Æolia, where he was born, and Ascra, in Bœotia, where he had been brought up? Velleius Paterculus makes him live one hundred and twenty years after Homer, of whom Quintilian makes him contemporary. Which of the two is right? What matters it? The poets are dead, their thought reigns. Having been, they are.
They do more work to-day among us than when they were alive. Others who have departed this life rest from their labours; dead men of genius work.
They work upon what? Upon minds. They make civilization.
"All ends under six feet of earth "? No; everything commences there. No; everything germinates there. No; everything flowers in it, and everything grows in it, and everything bursts forth from it, and everything proceeds from it! Good for you, men of the sword, are these maxims!
Lay yourselves down, disappear, lie in the grave, rot. So be it.
During life, gildings, caparisons, drums and trumpets, panoplies, banners to the wind, tumults, make up an illusion. The crowd gazes with admiration on these things. It imagines that it sees something grand. Who has the casque! Who has the cuirass? Who has the sword-belt? Who is spurred, morioned, plumed, armed? Hurrah for that one! At death the difference becomes striking. Juvenal takes Hannibal in the hollow of his hand.
It is not the Cæsar, it is the thinker, who can say when he expires, "Deus fio." So long as he remains a man his flesh interposes between other men and him. The flesh is a cloud upon genius. Death, that immense light, comes and penetrates the man with its aurora. No more flesh, no more matter, no more shade. The unknown which was within him manifests itself and beams forth. In order that a mind may give all its light, it requires death. The dazzling of the human race commences when that which was a genius becomes a soul. A book within which there is something of the ghost is irresistible.
He who is living does not appear disinterested. People mistrust him; people dispute him because they jostle against him. To be alive, and to be a genius is too much. It goes and comes as you do, it walks on the earth, it has weight, it throws a shadow, it obstructs. It seems as if there was importunity in too great a presence. Men do not find that man sufficiently like themselves. As we have said already, they owe him a grudge. Who is this privileged one? This functionary cannot be dismissed. Persecution makes him greater; decapitation crowns him. Nothing can be done against him, nothing for him, nothing with him. He is responsible, but not to you. He has his instructions. What he executes may be discussed, not modified. It seems as though he had a commission to execute from some one who is not man. Such exception displeases. Hence more hissing than applause.
Dead, he no longer obstructs. The hiss, now useless, dies out. Living, he was a rival; dead, he is a benefactor. He becomes, according to the beautiful expression of Lebrun "l'homme irréparable." Lebrun observes this of Montesquieu; Boileau observes the same of Molière. "Avant qu'un peu de terre" etc. This handful of earth has equally aggrandized Voltaire. Voltaire, so great in the eighteenth century, is still greater in the nineteenth. The grave is a crucible. Its earth, thrown on a man, sifts his reputation, and allows it to pass forth purified. Voltaire has lost his false glory and retained the true. To lose the false is to gain. Voltaire is neither a lyric poet, nor a comic poet, nor a tragic poet: he is the indignant yet tender critic of the old world; he is the mild reformer of manners; he is the man who softens men. Voltaire, who has lost ground as a poet, has risen as an apostle. He has done what is good, rather than what is beautiful. The good being included in the beautiful, those who, like Dante and Shakespeare, have produced the beautiful, surpass Voltaire; but below the poet, the place of the philosopher, is still very high, and Voltaire is the philosopher. Voltaire is common-sense in a continual stream. Excepting in literature, he is a good judge in everything. Voltaire was, in spite of his insulters, almost adored during his lifetime; he is in our days admired, now that the true facts of the case are known. The eighteenth century saw his mind: we see his soul. Frederick II., who willingly railed at him, wrote to D'Alembert, "Voltaire buffoons. This century resembles the old courts. It has a fool, who is Arouet." This fool of the century was its sage.
Such are the effects of the tomb for great minds. That mysterious entrance into the unknown leaves light behind. Their disappearance is resplendent. Their death evolves authority.
CHAPTER II
Shakespeare is the great glory of England. England has in politics Cromwell, in philosophy Bacon, in science Newton, – three lofty men of genius. But Cromwell is tinged with cruelty and Bacon with meanness; as to Newton, his edifice is now shaking on its base. Shakespeare is pure, which Cromwell and Bacon are not, and immovable, which Newton is not. Moreover, he is higher as a genius. Above Newton there is Copernicus and Galileo; above Bacon there is Descartes and Kant; above Cromwell there is Danton and Bonaparte; above Shakespeare there is no one. Shakespeare has equals, but not a superior. It is a singular honour for a land to have borne that man. One may say to that land, "Alma parens." The native town of Shakespeare is an elect place; an eternal light is on that cradle; Stratford-on-Avon has a certainty that Smyrna, Rhodes, Colophon, Salamis, Ohio, Argos, and Athens – the seven towns which disputed the birthplace of Homer – have not.
Shakespeare is a human mind; he is also an English mind. He is very English, – too English. He is English so far as to weaken the horror surrounding the horrible kings whom he places on the stage, when they are kings of England; so far as to depreciate Philip Augustus in comparison with John Lackland; so far as expressly to make a scapegoat, Falstaff, in order to load him with the princely misdeeds of the young Henry V.; so far as to partake in a certain measure of the hypocrisies of a pretended national history. Lastly, he is English so far as to attempt to attenuate Henry VIII.; it is true that the eye of Elizabeth is fixed upon him. But at the same time, let us insist upon this, – for it is by it that he is great, – yes, this English poet is a human genius. Art, like religion, has its Ecce Homo. Shakespeare is one of those of whom we may utter this grand saying: He is Man.
England is egotistical. Egotism is an island. That which perhaps is needed by this Albion immersed in her own business, and at times looked upon with little favour by other nations, is disinterested greatness; of this Shakespeare gives her some portion. He throws that purple on the shoulders of his country. He is cosmopolite and universal by his fame. On every side he overflows island and egotism. Deprive England of Shakespeare and see how much the luminous reverberation of that nation would immediately decrease. Shakespeare modifies the English visage and makes it beautiful With him, England is no longer so much like Carthage.
Strange meaning of the apparition of men of genius! There is no great poet born in Sparta, no great poet born in Carthage. This condemns those two cities. Dig, and you shall find this: Sparta is but the city of logic; Carthage is but the city of matter; to one as to the other love is wanting. Carthage immolates her children by the sword, and Sparta sacrifices her virgins by nudity; here innocence is killed, and there modesty. Carthage knows only her bales and her cases; Sparta blends herself wholly with the law, – there is her true territory; it is for the laws that her men die at Thermopylæ. Carthage is hard. Sparta is cold. They are two republics based upon stone; therefore no books. The eternal sower, who is never mistaken, has not opened for those ungrateful lands his hand full of men of genius. Such wheat is not to be confided to the rock.
Heroism, however, is not refused to them; they will have, if necessary, either the martyr or the captain. Leonidas is possible for Sparta, Hannibal for Carthage; but neither Sparta nor Carthage is capable of Homer. Some indescribable tenderness in the sublime, which causes the poet to gush from the very entrails of a people, is wanting in them. That latent tenderness, that flebile nescio quid, England possesses; as a proof, Shakespeare. We may add also as a proof, Wilberforce.
England, mercantile like Carthage, legal like Sparta, is worth more than Sparta and Carthage. She is honoured by this august exception, – a poet. To have given birth to Shakespeare makes England great.
Shakespeare's place is among the most sublime in that élite of absolute men of genius which, from time to time increased by some splendid fresh arrival, crowns civilization and illumines with its immense radiancy the human race. Shakespeare is legion. Alone, he forms the counterpoise to our grand French seventeenth century, and almost to the eighteenth.
When one arrives in England, the first thing that he looks for is the statue of Shakespeare. He finds the statue of Wellington.
Wellington is a general who gained a battle, having chance for his partner.
If you insist on seeing Shakespeare's statue you are taken to a place called Westminster, where there are kings, – a crowd of kings: there is also a comer called "Poets' Corner." There, in the shade of four or five magnificent monuments where some royal nobodies shine in marble and bronze, is shown to you on a small pedestal a little figure, and under this little figure, the name, "WILLIAM SHAKESPEARE."
In addition to this, statues everywhere; if you wish for statues you may find as many as you can wish. Statue for Charles, statue for Edward, statue for William, statues for three or four Georges, of whom one was an idiot. Statue of the Duke of Richmond at Huntley; statue of Napier at Portsmouth; statue of Father Mathew at Cork; statue of Herbert Ingram, I don't know where. A man has well drilled the riflemen, – he gets a statue; a man has commanded a manœuvre of the Horse Guards, – he gets a statue. Another has been a supporter of the past, has squandered all the wealth of England in paying a coalition of kings against 1789, against democracy, against light, against the ascending movement of the human race, – quick! a pedestal for that; a statue to Mr. Pitt. Another has knowingly fought against truth, in the hope that it might be vanquished, and has found out one fine morning that truth is hard-lived, that it is strong, that it might be intrusted with forming a cabinet, and has then passed abruptly over to its side, – one more pedestal; a statue for Mr. Peel. Everywhere, in every street, in every square, at every step, gigantic notes of admiration in the shape of columns, – a column to the Duke of York, which should really take the form of points of interrogation; a column to Nelson, pointed at by the ghost of Caracciolo; a column to Wellington, already named: columns for everybody. It is sufficient to have played with a sword somewhere. At Guernsey, by the seaside, on a promontory, there is a high column, similar to a lighthouse, – almost a tower; this one is struck by lightning; Æschylus would have contented himself with it. For whom is this? – for General Doyle. Who is General Doyle? – a general. What has this general done? – he has constructed roads. At his own expense? – no, at the expense of the inhabitants. He has a column. Nothing for Shakespeare, nothing for Milton, nothing for Newton; the name of Byron is obscure. That is where England is, – an illustrious and powerful nation.
It avails little that this nation has for scout and guide that generous British press, which is more than free, – which is sovereign, – and which through innumerable excellent journals throws light upon every question, – that is where England is; and let not France laugh too loudly, with her statue of Négrier; nor Belgium, with her statue of Belliard; nor Prussia, with her statue of Blücher; nor Austria, with the statue that she probably has of Schwartzenberg; nor Russia, with the statue that she certainly has of Souwaroff. If it is not Schwartzenberg, it is Windischgrätz; if it is not Souwaroff, it is Kutusoff.
Be Paskiewitch or Jellachich, – they will give you a statue; be Augereau or Bessières, – you get a statue; be an Arthur Wellesley, they will make you a colossus, and the ladies will dedicate you to yourself, quite naked, with this inscription: "Achilles." A young man, twenty years of age, performs the heroic action of marrying a beautiful young girl: they prepare for him triumphal arches; they come to see him out of curiosity; the grand-cordon is sent to him as on the morrow of a battle; the public squares are brilliant with fireworks; people who might have gray beards put on perukes to come and make speeches to him almost on their knees; they throw up in the air millions sterling in squibs and rockets to the applause of a multitude in tatters, who will have no bread to-morrow; starving Lancashire participates in the wedding; people are in ecstasies; they fire guns, they ring the bells, – "Rule Britannia!" "God save!" What! this young man has the kindness to do this? What a glory for the nation! Universal admiration, – a great people become frantic; a great city falls into a swoon; a balcony looking upon the passage of the young man is let for five hundred guineas; people heap themselves together, press upon one another, thrust one another beneath the wheels of his carriage; seven women are crushed to death in the enthusiasm, and their little children are picked up dead under the trampling feet; a hundred persons, partially stifled, are carried to the hospital: the joy is inexpressible. While this is going on in London, the cutting of the Isthmus of Panama is interrupted by a war; the cutting of the Isthmus of Suez depends on one Ismail Pacha; a company undertakes the sale of the water of Jordan at a guinea the bottle; walls are invented which resist every cannon-ball, after which missiles are invented which destroy every wall; an Armstrong cannon-shot costs fifty pounds; Byzantium contemplates Abdul-Azis; Rome goes to confession; the frogs, encouraged by the stork, demand a heron; Greece, after Otho, again wants a king; Mexico, after Iturbide, again wants an emperor; China wants two of them, – the king of the Centre, a Tartar, and the king of Heaven (Tien Wang), a Chinese. O earth! throne of stupidity.
