James Russell Lowell, Among my Books, (Boston, 1870), Rousseau and the Sentimentalists, pp. 361-371:
In judging Rousseau, it would be unfair not to take note of the malarious atmosphere in which he grew up. The constitution of his mind was thus early infected with a feverish taint that made him shiveringly sensitive to a temperature which hardier natures found bracing. To him this rough world was but too literally a rack. Good-humored Mother Nature commonly imbeds the nerves of her children in a padding of self-conceit that serves as a buffer against the ordinary shocks to which even a life of routine is liable, and it would seem at first sight as if Rousseau had been better cared for than usual in this regard. But as his self-conceit was enormous, so was the reaction from it proportionate, and the fretting suspiciousness of temper, sure mark of an unsound mind, which rendered him incapable of intimate friendship, while passionately longing for it, became inevitably, when turned inward, a tormenting self-distrust. To dwell in unrealities is the doom of the sentimentalist; but it should not be forgotten that the same fitful intensity of emotion which makes them real as the means of elation, gives them substance also for torture. Too irritably jealous to endure the rude society of men, he steeped his senses in the enervating incense that women are only too ready to burn. If their friendship be a safeguard to the other sex, their homage is fatal to all but the strongest, and Rousseau was weak both by inheritance and early training. His father was one of those feeble creatures for whom a fine phrase could always satisfactorily fill the void that non-performance leaves behind it. If he neglected duty, he made up for it by that cultivation of the finer sentiments of our common nature which waters flowers of speech with the brineless tears of a flabby remorse, without one fibre of resolve in it, and which impoverishes the character in proportion as it enriches the vocabulary. He was a very Apicius in that digestible kind of woe which makes no man leaner, and had a favorite receipt for cooking you up a sorrow à la douleur inassouvie that had just enough delicious sharpness in it to bring tears into the eyes by tickling the palate. «When he said to me, 'Jean Jacques, let us speak of thy mother,' I said to him, 'Well, father, we are going to weep, then,' and this word alone drew tears from him. 'Ah!' said he, groaning, 'give her back to me, console me for her, fill the void she has left in my soul!'» Alas! in such cases, the void she leaves is only that she found. The grief that seeks any other than its own society will erelong want an object. This admirable parent allowed his son to become an outcast at sixteen, without any attempt to reclaim him, in order to enjoy unmolested a petty inheritance to which the boy was entitled in right of his mother. «This conduct,» Rousseau tells us, «of a father whose tenderness and virtue were so well known to me, caused me to make reflections on myself which have not a little contributed to make my heart sound. I drew from it this great maxim of morals, the only one perhaps serviceable in practice, to avoid situations which put our duties in opposition to our interest, and which show us our own advantage in the wrong of another, sure that in such situations, however sincere may be one's love of virtue, it sooner or later grows weak without our perceiving it, and that we become unjust and wicked in action without having ceased to be just and good in soul.»
This maxim may do for that «fugitive and cloistered virtue, unexercised and unbreathed, that never sallies out and seeks its adversary,» which Milton could not praise,—that is, for a manhood whose distinction it is not to be manly,—but it is chiefly worth notice as being the characteristic doctrine of sentimentalism. This disjoining of deed from will, of practice from theory, is to put asunder what God has joined by an indissoluble sacrament. The soul must be tainted before the action become corrupt; and there is no self-delusion more fatal than that which makes the conscience dreamy with the anodyne of lofty sentiments, while the life is grovelling and sensual,—witness Coleridge. In his case we feel something like disgust. But where, as in his son Hartley, there is hereditary infirmity, where the man sees the principle that might rescue him slip from the clutch of a nerveless will, like a rope through the fingers of a drowning man, and the confession of faith is the moan of despair, there is room for no harsher feeling than pity. Rousseau showed through life a singular proneness for being convinced by his own eloquence; he was always his own first convert; and this reconciles his power as a writer with his weakness as a man. He and all like him mistake emotion for conviction, velleity for resolve, the brief eddy of sentiment for the midcurrent of ever-gathering faith in duty that draws to itself all the affluents of conscience and will, and gives continuity of purpose to life. They are like men who love the stimulus of being under conviction, as it is called, who, forever getting religion, never get capital enough to retire upon and spend for their own need and the common service.
The sentimentalist is the spiritual hypochondriac, with whom fancies become facts, while facts are a discomfort because they will not be evaporated into fancy. In his eyes, Theory is too fine a dame to confess even a country-cousinship with coarse handed Practice, whose homely ways would disconcert her artificial world. The very susceptibility that makes him quick to feel, makes him also incapable of deep and durable feeling. He loves to think he suffers, and keeps a pet sorrow, a blue-devil familiar, that goes with him everywhere, like Paracelsus's black dog. He takes good care, however, that it shall not be the true sulphurous article that sometimes takes a fancy to fly away with his conjurer. René says: «In my madness I had gone so far as even to wish I might experience a misfortune, so that my suffering might at least have a real object.» But no; selfishness is only active egotism, and there is nothing and nobody, with a single exception, which this sort of creature will not sacrifice, rather than give any other than an imaginary pang to his idol. Vicarious pain he is not unwilling to endure, nay, will even commit suicide by proxy, like the German poet who let his wife kill herself to give him a sensation. Had young Jerusalem been anything like Goethe's portrait of him in Werther, he would have taken very good care not to blow out the brains which he would have thought only too precious. Real sorrows are uncomfortable things, but purely aesthetic ones are by no means unpleasant, and I have always fancied the handsome young Wolfgang writing those distracted letters to Auguste Stolberg with a looking-glass in front of him to give back an image of his desolation, and finding it rather pleasant than otherwise to shed the tear of sympathy with self that would seem so bitter to his fair correspondent. The tears that have real salt in them will keep; they are the difficult, manly tears that are shed in secret; but the pathos soon evaporates from that fresh-water with which a man can bedew a dead donkey in public, while his wife is having a good cry over his neglect of her at home. We do not think the worse of Goethe for hypothetically desolating himself in the fashion aforesaid, for with many constitutions it is as purely natural a crisis as dentition, which the stronger worry through, and turn out very sensible, agreeable fellows. But where there is an arrest of development, and the heartbreak of the patient is audibly prolonged through life, we have a spectacle which the toughest heart would wish to get as far away from as possible.
We would not be supposed to overlook the distinction, too often lost sight of, between sentimentalism and sentiment, the latter being a very excellent thing in its way, as genuine things are apt to be. Sentiment is intellectualized emotion, emotion precipitated, as it were, in pretty crystals by the fancy. This is the delightful staple of the poets of social life like Horace and Béranger, or Thackeray, when he too rarely played with verse. It puts into words for us that decorous average of feeling to the expression of which society can consent without danger of being indiscreetly moved. It is excellent for people who are willing to save their souls alive to any extent that shall not be discomposing. It is even satisfying till some deeper experience has given us a hunger which what we so glibly call «the world» cannot sate, just as a water-ice is nourishment enough to a man who has had his dinner. It is the sufficing lyrical interpreter of those lighter hours that should make part of every healthy man's day, and is noxious only when it palls men's appetite for the truly profound poetry which is very passion of very soul sobered by afterthought and embodied in eternal types by imagination. True sentiment is emotion ripened by a slow ferment of the mind and qualified to an agreeable temperance by that taste which is the conscience of polite society. But the sentimentalist always insists on taking his emotion neat, and, as his sense gradually deadens to the stimulus, increases his dose till he ends in a kind of moral deliquium. At first the debaucher, he becomes at last the victim of his sensations.
Among the ancients we find no trace of sentimentalism. Their masculine mood both of body and mind left no room for it, and hence the bracing quality of their literature compared with that of recent times, its tonic property, that seems almost too astringent to palates relaxed by a daintier diet. The first great example of the degenerate modern tendency was Petrarch, who may be said to have given it impulse and direction. A more perfect specimen of the type has not since appeared. An intellectual voluptuary, a moral dilettante, the first instance of that character, since too common, the gentleman in search of a sensation, seeking a solitude at Vaucluse because it made him more likely to be in demand at Avignon, praising philosophic poverty with a sharp eye to the next rich benefice in the gift of his patron, commending a good life but careful first of a good living, happy only in seclusion but making a dangerous journey to enjoy the theatrical show of a coronation in the Capitol, cherishing a fruitless passion which broke his heart three or four times a year and yet could not make an end of him till he had reached the ripe age of seventy and survived his mistress a quarter of a century,—surely a more exquisite perfection of inconsistency would be hard to find.
When Petrarch returned from his journey into the North of Europe in 1332, he balanced the books of his unrequited passion, and, finding that he had now been in love seven years, thought the time had at last come to call deliberately on Death. Had Death taken him at his word, he would have protested that he was only in fun. For we find him always taking good care of an excellent constitution, avoiding the plague with commendable assiduity, and in the very year when he declares it absolutely essential to his peace of mind to die for good and all, taking refuge in the fortress of Capranica, from a wholesome dread of having his throat cut by robbers. There is such a difference between dying in a sonnet with a cambric handkerchief at one's eyes, and the prosaic reality of demise certified in the parish register! Practically it is inconvenient to be dead. Among other things, it puts an end to the manufacture of sonnets. But there seems to have been an excellent understanding between Petrarch and Death, for he was brought to that grisly monarch's door so often, that, otherwise, nothing short of a miracle or the nine lives of that animal whom love also makes lyrical could have saved him. «I consent,» he cries, «to live and die in Africa among its serpents, upon Caucasus, or Atlas, if, while I live, to breathe a pure air, and after my death a little corner of earth where to bestow my body, may be allowed me. This is all I ask, but this I cannot obtain. Doomed always to wander, and to be a stranger everywhere, O Fortune, Fortune, fix me at last to some one spot! I do not covet thy favors. Let me enjoy a tranquil poverty, let me pass in this retreat the few days that remain to me!» The pathetic stop of Petrarch's poetical organ was one he could pull out at pleasure,—and indeed we soon learn to distrust literary tears, as the cheap subterfuge for want of real feeling with natures of this quality. Solitude with him was but the pseudonyme of notoriety. Poverty was the archdeaconry of Parma, with other ecclesiastical pickings. During his retreat at Vaucluse, in the very height of that divine sonneteering love of Laura, of that sensitive purity which called Avignon Babylon, and rebuked the sinfulness of Clement, he was himself begetting that kind of children which we spell with a b. We believe that, if Messer Francesco had been present when the woman was taken in adultery, he would have flung the first stone without the slightest feeling of inconsistency, nay, with a sublime sense of virtue. The truth is, that it made very little difference to him what sort of proper sentiment he expressed, provided he could do it elegantly and with unction.
Would any one feel the difference between his faint abstractions and the Platonism of a powerful nature fitted alike for the withdrawal of ideal contemplation and for breasting the storms of life,—would any one know how wide a depth divides a noble friendship based on sympathy of pursuit and aspiration, on that mutual help which souls capable of self-sustainment are the readiest to give or to take, and a simulated passion, true neither to the spiritual nor the sensual part of man,—let him compare the sonnets of Petrarch with those which Michel Angelo addressed to Vittoria Colonna. In them the airiest pinnacles of sentiment and speculation are buttressed with solid mason-work of thought, and of an actual, not fancied experience, and the depth of feeling is measured by the sobriety and reserve of expression, while in Petrarch's all ingenuousness is frittered away into ingenuity. Both are cold, but the coldness of the one is self-restraint, while the other chills with pretence of warmth. In Michel Angelo's, you feel the great architect; in Petrarch's the artist who can best realize his conception in the limits of a cherry-stone. And yet this man influenced literature longer and more widely than almost any other in modern times. So great is the charm of elegance, so unreal is the larger part of what is written!
Certainly I do not mean to say that a work of art should be looked at by the light of the artist's biography, or measured by our standard of his character. Nor do I reckon what was genuine in Petrarch—his love of letters, his refinement, his skill in the superficial graces of language, that rhetorical art by which the music of words supplants their meaning, and the verse moulds the thought instead of being plastic to it—after any such fashion. I have no ambition for that character of valet de chambre which is said to disenchant the most heroic figures into mere every-day personages, for it implies a mean soul no less than a servile condition. But we have a right to demand a certain amount of reality, however small, in the emotion of a man who makes it his business to endeavor at exciting our own. We have a privilege of nature to shiver before a painted flame, how cunningly soever the colors be laid on. Yet our love of minute biographical detail, our desire to make ourselves spies upon the men of the past, seems so much of an instinct in us, that we must look for the spring of it in human nature, and that somewhat deeper than mere curiosity or love of gossip. It should seem to arise from what must be considered on the whole a creditable feeling, namely, that we value character more than any amount of talent,—the skill to be something, above that of doing anything but the best of its kind. The highest creative genius, and that only, is privileged from arrest by this personality, for there the thing produced is altogether disengaged from the producer. But in natures incapable of this escape from themselves, the author is inevitably mixed with his work, and we have a feeling that the amount of his sterling character is the security for the notes he issues. Especially we feel so when truth to self, which is always self-forgetful, and not truth to nature, makes an essential part of the value of what is offered us; as where a man undertakes to narrate personal experience or to enforce a dogma. This is particularly true as respects sentimentalists, because of their intrusive self-consciousness; for there is no more universal characteristic of human nature than the instinct of men to apologize to themselves for themselves, and to justify personal failings by generalizing them into universal laws. A man would be the keenest devil's advocate against himself, were it not that he has always taken a retaining fee for the defence; for we think that the indirect and mostly unconscious pleas in abatement which we read between the lines in the works of many authors are oftener written to set themselves right in their own eyes than in those of the world. And in the real life of the sentimentalist it is the same. He is under the wretched necessity of keeping up, at least in public, the character he has assumed, till he at last reaches that last shift of bankrupt self-respect, to play the hypocrite with himself. Lamartine, after passing round the hat in Europe and America, takes to his bed from wounded pride when the French Senate votes him a subsidy, and sheds tears of humiliation. Ideally, he resents it; in practical coin, he will accept the shame without a wry face.
No comments:
Post a Comment