Has meus ad metas sudet oportet equus. [Footnote: Propeet. 1. iv. El. i. 70]

My horse must sweating runne, That this goale may be wonne.

If in reading I fortune to meet with any difficult points, I fret not my selfe about them, but after I have given them a charge or two, I leave them as I found them. Should I earnestly plod upon them, I should loose both time and my selfe, for I have a skipping wit. What I see not at the first view, I shall lesse see it if I opinionate my selfe upon it. I doe nothing without blithnesse; and an over obstinate continuation and plodding contention doth dazle, dul, and wearie the same: my sight is thereby confounded and diminished. I must therefore withdraw it, and at fittes goe to it againe. Even as to judge well of the lustre of scarlet we are taught to cast our eyes over it, in running over by divers glances, sodaine glimpses and reiterated reprisings. [Footnote: Repeated observations.] If one booke seeme tedious unto me I take another, which I follow not with any earnestnesse, except it be at such houres as I am idle, or that I am weary with doing nothing. I am not greatly affected to new books, because ancient Authors are, in my judgement, more full and pithy: nor am I much addicted to Greeke books, forasmuch as my understanding cannot well rid [Footnote: Accomplish.] his worke with a childish and apprentise intelligence. Amongst moderne bookes meerly pleasant, I esteeme Bocace his Decameron, Rabelais, and the kisses of John the second (if they may be placed under this title), worth the paines-taking to reade them. As for Amadis and such like trash of writings, they had never the credit so much as to allure my youth to delight in them. This I will say more, either boldly or rashly, that this old and heavie-pased minde of mine will no more be pleased with Aristotle, or tickled with good Ovid: his facility and quaint inventions, which heretofore have so ravished me, they can now a days scarcely entertaine me. I speake my minde freely of all things, yea, of such as peradventure exceed my sufficiencie, and that no way I hold to be of my jurisdiction. What my conceit is of them is told also to manifest the proportion of my insight, and not the measure of things. If at any time I finde my selfe distasted of Platoes Axiochus, as of a forceles worke, due regard had to such an Author, my judgement doth nothing beleeve it selfe: It is not so fond-hardy, or selfe-conceited, as it durst dare to oppose it selfe against the authority of so many other famous ancient judgements, which he reputeth his regents and masters, and with whom hee had rather erre. He chafeth with, and condemneth himselfe, either to rely on the superficiall sense, being unable to pierce into the centre, or to view the thing by some false lustre. He is pleased only to warrant himselfe from trouble and unrulinesse: As for weaknesse, he acknowledgeth and ingeniously avoweth the same. He thinks to give a just interpretation to the apparences which his conception presents unto him, but they are shallow and imperfect. Most of AEsopes fables have divers senses, and severall interpretations: Those which Mythologize them, chuse some kinde of colour well suting with the fable; but for the most part, it is no other than the first and superficiall glosse: There are others more quicke, more sinnowie, more essentiall, and more internall, into which they could never penetrate; and thus thinke I with them. But to follow my course, I have ever deemed that in Poesie, Virgil, Lucretius, Catullus, and Horace, doe doubtles by far hold the first ranke: and especially Virgil in his Georgiks, which I esteeme to be the most accomplished peece of worke of Poesie: In comparison of which one may easily discerne, that there are some passages in the AEneidos to which the Author (had he lived) would no doubt have given some review or correction: The fifth booke whereof is (in my mind) the most absolutely perfect. I also love Lucan, and willingly read him, not so much for his stile, as for his owne worth and truth of his opinion and judgement. As for good Terence, I allow the quaintnesse and grace of his Latine tongue, and judge him wonderfull conceited and apt, lively to represent the motions and passions of the minde, and the condition of our manners: our actions make me often remember him. I can never reade him so often but still I discover some new grace and beautie in him. Those that lived about Virgil's time, complained that some would compare Lucretius unto him. I am of opinion that verily it is an unequall comparison; yet can I hardly assure my selfe in this opinion whensoever I finde my selfe entangled in some notable passage of Lucretius. If they were moved at this comparison, what would they say now of the fond, hardy and barbarous stupiditie of those which now adayes compare Ariosto unto him? Nay, what would Ariosto say of it himselfe?

O seclum insipiens et infacetutn. [Footnote: Catul. Epig, xl. 8.]

O age that hath no wit, And small conceit in it.

I thinke our ancestors had also more reason to cry out against those that blushed not to equall Plautus unto Terence (who makes more show to be a Gentleman) than Lucretius unto Virgil. This one thing doth greatly advantage the estimation and preferring of Terence, that the father of the Roman eloquence, of men of his quality doth so often make mention of him; and the censure [Footnote: Opinion.] which the chiefe Judge of the Roman Poets giveth of his companion. It hath often come unto my minde, how such as in our dayes give themselves to composing of comedies (as the Italians who are very happy in them) employ three or foure arguments of Terence and Plautus to make up one of theirs. In one onely comedy they will huddle up five or six of Bocaces tales. That which makes them so to charge themselves with matter, is the distrust they have of their owne sufficiency, and that they are not able to undergoe so heavie a burthen with their owne strength. They are forced to finde a body on which they may rely and leane themselves: and wanting matter of their owne wherewith to please us, they will have the story or tale to busie and ammuse us: where as in my Authors it is cleane contrary: The elegancies, the perfections and ornaments of his manner of speech, make us neglect and lose the longing for his subject. His quaintnesse and grace doe still retaine us to him. He is every where pleasantly conceited, [Footnote: Full of pleasant notions.]

Liquidus puroque simillimus amni [Footnote: Hor. 1. ii. Epist. II. 120.]

So clearely-neate, so neately-cleare, As he a fine-pure River were,

and doth so replenish our minde with his graces that we forget those of the fable. The same consideration drawes me somewhat further. I perceive that good and ancient Poets have shunned the affectation and enquest, not only of fantasticall, new fangled, Spagniolized, and Petrarchisticall elevations, but also of more sweet and sparing inventions, which are the ornament of all the Poeticall workes of succeeding ages. Yet is there no competent Judge that findeth them wanting in those Ancient ones, and that doth not much more admire that smoothly equall neatnesse, continued sweetnesse, and flourishing comelinesse of Catullus his Epigrams, than all the sharpe quips and witty girds wherewith Martiall doth whet and embellish the conclusions of his. It is the same reason I spake of erewhile, as Martiall of himselfe. Minus illi ingenio laborandum fuit, in cuius locum materia successerat. [Footnote: Mart. Praf. 1. viii.] "He needed the lesse worke with his wit, in place whereof matter came in supply." The former without being moved or pricked cause themselves to be heard lowd enough: they have matter to laugh at every where, and need not tickle themselves; where as these must have foraine helpe: according as they have lesse spirit, they must have more body. They leape on horsebacke, because they are not sufficiently strong in their legs to march on foot. Even as in our dances, those base conditioned men that keepe dancing-schooles, because they are unfit to represent the port and decencie of our nobilitie, endevour to get commendation by dangerous lofty trickes, and other strange tumbler-like friskes and motions. And some Ladies make a better shew of their countenances in those dances, wherein are divers changes, cuttings, turnings, and agitations of the body, than in some dances of state and gravity, where they need but simply to tread a naturall measure, represent an unaffected cariage, and their ordinary grace; And as I have also seene some excellent Lourdans, or Clownes, attired in their ordinary worky-day clothes, and with a common homely countenance, affoord us all the pleasure that may be had from their art: but prentises and learners that are not of so high a forme, besmeare their faces, to disguise themselves, and in motions counterfeit strange visages and antickes, to enduce us to laughter. This my conception is no where better discerned than in the comparison betweene Virgils AEneidos and Orlando Furioso. The first is seene to soare aloft with full-spread wings, and with so high and strong a pitch, ever following his point; the other faintly to hover and flutter from tale to tale, and as it were skipping from bough to bough, always distrusting his owne wings, except it be for some short flight, and for feare his strength and breath should faile him, to sit downe at every fields- end;

Excursusque breves tentat. [Footnote: Virg. AEn. 1. iv. 194.]

Out-lopes [Footnote: Wanderings out.] sometimes he doth assay, But very short, and as he may.

Loe here then, concerning this kinde of subjects, what Authors please me best: As for my other lesson, which somewhat more mixeth profit with pleasure, whereby I learne to range my opinions and addresse my conditions, the Bookes that serve me thereunto are Plutarke (since he spake [Footnote: Was translated by Angot] French) and Seneca; both have this excellent commodity for my humour, that the knowledge I seeke in them is there so scatteringly and loosely handled, that whosoever readeth them is not tied to plod long upon them, whereof I am uncapable. And so are Plutarkes little workes and Senecas Epistles, which are the best and most profitable parts of their writings. It is no great matter to draw mee to them, and I leave them where I list. For they succeed not and depend not one of another. Both jumpe [Footnote: Agree] and suit together, in most true and profitable opinions: And fortune brought them both into the world in one age. Both were Tutors unto two Roman Emperours: Both were strangers, and came from farre Countries; both rich and mighty in the common-wealth, and in credit with their masters. Their instruction is the prime and creame of Philosophy, and presented with a plaine, unaffected, and pertinent fashion. Plutarke is more uniforme and constant; Seneca more waving and diverse. This doth labour, force, and extend himselfe, to arme and strengthen vertue against weaknesse, feare, and vitious desires; the other seemeth nothing so much to feare their force or attempt, and in a manner scorneth to hasten or change his pace about them, and to put himselfe upon his guard. Plutarkes opinions are Platonicall, gentle and accommodable unto civill societie: Senecaes Stoicall and Epicurian, further from common use, but in my conceit [Footnote: Opinion.] more proper, particular, and more solid. It appeareth in Seneca that he somewhat inclineth and yeeldeth to the tyrannic of the Emperors which were in his daies; for I verily believe, it is with a forced judgement he condemneth the cause of those noblie- minded murtherers of Caesar; Plutarke is every where free and open hearted; Seneca full-fraught with points and sallies; Plutarke stuft with matters. The former doth move and enflame you more; the latter content, please, and pay you better: This doth guide you, the other drive you on. As for Cicero, of all his works, those that treat of Philosophie (namely morall) are they which best serve my turne, and square with my intent. But boldly to confess the truth (for, since the bars of impudencie were broken downe, all curbing is taken away), his manner of writing seemeth verie tedious unto me, as doth all such like stuffe. For his prefaces, definitions, divisions, and Etymologies consume the greatest part of his works; whatsoever quick, wittie, and pithie conceit is in him is surcharged and confounded by those his long and far-fetcht preambles. If I bestow but one hour in reading them, which is much for me, and let me call to minde what substance or juice I have drawne from him, for the most part I find nothing but wind and ostentation in him; for he is not yet come to the arguments which make for his purpose, and reasons that properly concerne the knot or pith I seek after. These Logicall and Aristotelian ordinances are not avail full for me, who onely endeavour to become more wise and sufficient, and not more wittie or eloquent. I would have one begin with the last point: I understand sufficiently what death and voluptuousnesse are: let not a man busie himselfe to anatomize them. At the first reading of a booke I seeke for good and solid reasons that may instruct me how to sustaine their assaults. It is neither grammaticall subtilties nor logicall quiddities, nor the wittie contexture of choice words or arguments and syllogismes, that will serve my turne. I like those discourses that give the first charge to the strongest part of the doubt; his are but flourishes, and languish everywhere. They are good for schooles, at the barre, or for Orators and Preachers, where we may slumber: and though we wake a quarter of an houre after, we may finde and trace him soone enough. Such a manner of speech is fit for those judges that a man would corrupt by hooke or crooke, by right or wrong, or for children and the common people, unto whom a man must tell all, and see what the event would be. I would not have a man go about and labour by circumlocutions to induce and winne me to attention, and that (as our Heralds or Criers do) they shall ring out their words: Now heare me, now listen, or ho-yes. [Footnote: Oyez, hear.] The Romanes in their religion were wont to say, "Hoc age; [Footnote: Do this.] "which in ours we say, "Sursum corda. [Footnote: Lift up your hearts.] There are so many lost words for me. I come readie prepared from my house. I neede no allurement nor sawce, my stomacke is good enough to digest raw meat: And whereas with these preparatives and flourishes, or preambles, they thinke to sharpen my taste or stir my stomacke, they cloy and make it wallowish. [Footnote: Mawkish.] Shall the privilege of times excuse me from this sacrilegious boldnesse, to deem Platoes Dialogismes to be as languishing, by over-filling and stuffing his matter? And to bewaile the time that a man who had so many thousands of things to utter, spends about so many, so long, so vaine, and idle interloqutions, and preparatives? My ignorance shall better excuse me, in that I see nothing in the beautie of his language. I generally enquire after bookes that use sciences, and not after such as institute them. The two first, and Plinie, with others of their ranke, have no Hoc age in them, they will have to doe with men that have forewarned themselves; or if they have, it is a materiall and substantial! Hoc age, and that hath his bodie apart I likewise love to read the Epistles and ad Atticum, not onely because they containe a most ample instruction of the historic and affaires of his times, but much more because in them I descrie his private humours. For (as I have said elsewhere) I am wonderfull curious to discover and know the minde, the soul, the genuine disposition and naturall judgement of my authors. A man ought to judge their sufficiencie and not their customes, nor them by the shew of their writings, which they set forth on this world's theatre. I have sorrowed a thousand times that ever we lost the booke that Brutus writ of Vertue. Oh it is a goodly thing to learne the Theorike of such as understand the practice well. But forsomuch as the Sermon is one thing and the Preacher an other, I love as much to see Brutus in Plutarke as in himself: I would rather make choice to know certainly what talk he had in his tent with some of his familiar friends, the night fore-going the battell, than the speech he made the morrow after to his Armie; and what he did in his chamber or closet, than what in the senate or market place. As for Cicero, I am of the common judgement, that besides learning there was no exquisite [Footnote: Overelaborate.] eloquence in him: He was a good citizen, of an honest, gentle nature, as are commonly fat and burly men: for so was he: But to speake truly of thim? full of ambitious vanity and remisse niceness. [Footnote: Ineffectual fastidiousness.] And I know not well how to excuse him, in that he deemed his Poesie worthy to be published. It is no great imperfection to make bad verses, but it is an imperfection in him that he never perceived how unworthy they were of the glorie of his name. Concerning his eloquence, it is beyond all comparison, and I verily beleeve that none shall ever equall it. Cicero the younger, who resembled his father in nothing but in name, commanding in Asia, chanced one day to have many strangers at his board, and amongst others, one Caestius sitting at the lower end, as the manner is to thrust in at great mens tables: Cicero inquired of one of his men what he was, who told him his name, but he dreaming on other matters, and having forgotten what answere his man made him, asked him his name twice or thrice more: the servant, because he would not be troubled to tell him one thing so often, and by some circumstance to make him to know him better, "It is," said he, "the same Caestius of whom some have told you that, in respect of his owne, maketh no accompt of your fathers eloquence:" Cicero being suddainly mooved, commanded the said poore Caestius to be presently taken from the table, and well whipt in his presence: Lo heere an uncivill and barbarous host. Even amongst those which (all things considered) have deemed his eloquence matchlesse and incomparable, others there have been who have not spared to note some faults in it. As great Brutus said, that it was an eloquence broken, halting, and disjoynted, fractam et elumbem: "Incoherent and sinnowlesse." Those Orators that lived about his age, reproved also in him the curious care he had of a certaine long cadence at the end of his clauses, and noted these words, esse videatur, which he so often useth. As for me, I rather like a cadence that falleth shorter, cut like Iambikes: yet doth he sometimes confounde his numbers, [Footnote: Confuse his rhythm.] but it is seldome: I have especially observed this one place: "Ego vero me minus diu senem esse mallem, quam esse senem, antequam essem? [Footnote: Cic. De Senect.] "But I had rather not be an old man, so long as I might be, than to be old before I should be." Historians are my right hand, for they are pleasant and easie; and therewithall the man with whom I desire generally to be acquainted may more lively and perfectly be discovered in them than in any other composition: the varictic and truth of his inward conditions, in grosse and by retale: the diversitie of the meanes of his collection and composing, and of the accidents that threaten him. Now those that write of mens lives, forasmuch as they ammuse and busie themselves more about counsels than events, more about that which commeth from within than that which appeareth outward; they are fittest for me: And that's the reason why Plutarke above all in that kind doth best please me. Indeed I am not a little grieved that we have not a dozen of Laertius, or that he is not more knowne, or better understood; for I am no lesse curious to know the fortunes and lives of these great masters of the world than to understand the diversitie of their decrees and conceits. In this kind of studie of historie a man must, without distinction, tosse and turne over all sorts of Authors, both old and new, both French and others, if he will learne the things they so diversly treat of. But me thinkes that Caesar above all doth singularly deserve to be studied, not onely for the understanding of the historie as of himselfe; so much perfection and excellencie is there in him more than in others, although Salust be reckoned one of the number. Verily I read that author with a little more reverence and respects than commonly men reade profane and humane Workes: sometimes considering him by his actions and wonders of his greatnesse, and other times waighing the puritie and inimitable polishing and elegancie of his tongue, which (as Cicero saith) hath not onely exceeded all historians, but haply Cicero himselfe: with such sinceritie in his judgement, speaking of his enemies, that except the false colours wherewith he goeth about to cloake his bad cause, and the corruption and filthinesse of his pestilent ambition, I am perswaded there is nothing in him to be found fault with: and that he hath been over-sparing to speake of himselfe; for so many notable and great things could never be executed by him, unlesse he had put more of his owne into them than he setteth downe. I love those Historians that are either very simple or most excellent. The simple who have nothing of their owne to adde unto the storie and have but the care and diligence to collect whatsoever come to their knowledge, and sincerely and faithfully to register all things, without choice or culling, by the naked truth leave our judgment more entire and better satisfied.

Such amongst others (for examples sake) plaine and well-meaning Froissard, who in his enterprise hath marched with so free and genuine a puritie, that having committed some oversight, he is neither ashamed to acknowledge nor afraid to correct the same, wheresoever he hath either notice or warning of it; and who representeth unto us the diversitie of the newes then current and the different reports that were made unto him. The subject of an historie should be naked, bare, and formelesse; each man according to his capacitie or understanding may reap commoditie out of it. The curious and most excellent have the sufficiencie to cull and chuse that which is worthie to be knowne and may select of two relations that which is most likely: from the condition of Princes and of their humours, they conclude their counsels and attribute fit words to them: they assume a just authoritie and bind our faith to theirs. But truly that belongs not to many. Such as are betweene both (which is the most common fashion), it is they that spoil all; they will needs chew our meat for us and take upon them a law to judge, and by consequence to square and encline the storie according to their fantasie; for, where the judgement bendeth one way, a man cannot chuse but wrest and turne his narration that way. They undertake to chuse things worthy to bee knowne, and now and then conceal either a word or a secret action from us, which would much better instruct us: omitting such things as they understand not as incredible: and haply such matters as they know not how to declare, either in good Latin or tolerable French. Let them boldly enstall their eloquence and discourse: Let them censure at their pleasure, but let them also give us leave to judge after them: And let them neither alter nor dispense by their abridgements and choice anything belonging to the substance of the matter; but let them rather send it pure and entire with all her dimensions unto us. Most commonly (as chiefly in our age) this charge of writing histories is committed unto base, ignorant, and mechanicall kind of people, only for this consideration that they can speake well; as if we sought to learne the Grammer of them; and they have some reason, being only hired to that end, and publishing nothing but their tittle-tattle to aime at nothing else so much. Thus with store of choice and quaint words, and wyre drawne phrases, they huddle up and make a hodge-pot of a laboured contexture of the reports which they gather in the market places or such other assemblies. The only good histories are those that are written by such as commanded or were imploied themselves in weighty affaires or that were partners in the conduct of them, or that at least have had the fortune to manage others of like qualitie. Such in a manner are all the Graecians and Romans. For many eye-witnesses having written of one same subject (as it hapned in those times when Greatnesse and Knowledge did commonly meet) if any fault or over-sight have past them, it must be deemed exceeding light and upon some doubtful accident. What may a man expect at a Phisitians hand that discourseth of warre, or of a bare Scholler treating of Princes secret designes? If we shall but note the religion which the Romans had in that, wee need no other example: Asinius Pollio found some mistaking or oversight in Caesars Commentaries, whereinto he was falne, only because he could not possiblie oversee all things with his owne eyes that hapned in his Armie, but was faine to rely on the reports of particular men, who often related untruths unto him: or else because he had not been curiously advertized [Footnote: Minutely informed.] and distinctly enformed by his Lieutenants and Captaines of such matters as they in his absence had managed or effected. Whereby may be seen that nothing is so hard or so uncertaine to be found out as the certaintie of the truth, sithence [Footnote: Since.] no man can put any assured confidence concerning the truth of a battel, neither in the knowledge of him that was Generall or commanded over it, nor in the soldiers that fought, of anything that hath hapned amongst them; except after the manner of a strict point of law, the severall witnesses are brought and examined face to face, and that all matters be nicely and thorowly sifted by the objects and trials of the successe of every accident. Verily the knowledge we have of our owne affaires is much more barren and feeble. But this hath sufficiently been handled by Bodin, and agreeing with my conception. Somewhat to aid the weaknesse of my memorie and to assist her great defects; for it hath often been my chance to light upon bookes which I supposed to be new and never to have read, which I had not understanding diligently read and run over many years before, and all bescribled with my notes; I have a while since accustomed my selfe to note at the end of my booke (I meane such as I purpose to read but once) the time I made an end to read it, and to set downe what censure or judgement I gave of it; that so it may at least at another time represent unto my mind the aire and generall idea I had conceived of the Author in reading him. I will here set downe the Copie of some of my annotations, and especially what I noted upon my Guicciardine about ten yeares since: (For what language soever my books speake unto me I speake unto them in mine owne.) He is a diligent Historiographer and from whom in my conceit a man may as exactly learne the truth of such affaires as passed in his time, as of any other writer whatsoever: and the rather because himselfe hath been an Actor of most part of them and in verie honourable place. There is no signe or apparance that ever he disguised or coloured any matter, either through hatred, malice, favour, or vanitie; whereof the free and impartiall judgements he giveth of great men, and namely of those by whom he had been advanced or imployed in his important charges, as of Pope Clement the seaventh, beareth undoubted testimony. Concerning the parts wherein he most goeth about to prevaile, which are his digressions and discourses, many of them are verie excellent and enriched with faire ornaments, but he hath too much pleased himselfe in them: for endeavouring to omit nothing that might be spoken, having so full and large a subject, and almost infinite, he proveth somewhat languishing, and giveth a taste of a kind of scholasticall tedious babling. Moreover, I have noted this, that of so severall and divers armes, successes, and effects he judgeth of; of so many and variable motives, alterations, and counsels, that he relateth, he never referreth any one unto vertue, religion or conscience: as if they were all extinguished and banished the world. And of all actions how glorious soever in apparance they be of themselves, he doth ever impute the cause of them to some vicious and blame-worthie occasion, or to some commoditie and profit. It is impossible to imagine that amongst so infinite a number of actions whereof he judgeth, some one have not been produced and compassed by way of reason. No corruption could ever possesse men so universally but that some one must of necessity escape the contagion; which makes me to feare he hath had some distaste or blame in his passion, and it hath haply fortuned that he hath judged or esteemed of others according to himselfe. In my Philip de Comines there is this: In him you shall find a pleasing- sweet and gently-gliding speech, fraught with a purely sincere simplicitie, his narration pure and unaffected, and wherein the Authours unspotted good meaning doth evidently appeare, void of all manner of vanitie or ostentation speaking of himselfe, and free from all affection or envie-speaking of others; his discourses and perswasions accompanied more with a well-meaning zeale and meere [Footnote: Pure.] veritie than with any laboured and exquisite sufficiencie, and allthrough with gravitie and authoritie, representing a man well-borne and brought up in high negotiations. Upon the Memoires and historic of Monsieur du Bellay: It is ever a well-pleasing thing to see matters written by those that have as said how and in what manner they ought to be directed and managed: yet can it not be denied but that in both these Lords there will manifestly appeare a great declination from a free libertie of writing, which clearely shineth in ancient writers of their kind: as in the Lord of louinille, familiar unto Saint Lewis; Eginard, Chancellor unto Charlemaine; and of more fresh memorie in Philip de Comines. This is rather a declamation or pleading for King Francis against the Emperour Charles the fifth, than an Historic. I will not beleeve they have altered or changed any thing concerning the generalitie of matters, but rather to wrest and turne the judgement of the events many times against reason, to our advantage, and to omit whatsoever they supposed to be doubtful or ticklish in their masters life: they have made a business of it: witnesse the recoylings of the Lords of Momorancy and Byron, which therein are forgotten; and which is more, you shall not so much as find the name of the Ladie of Estampes mentioned at all. A man may sometimes colour and haply hide secret actions, but absolutely to conceal that which all the world knoweth, and especially such things as have drawne-on publike effects, and of such consequence, it is an inexcusable defect, or as I may say unpardonable oversight. To conclude, whosoever desireth to have perfect information and knowledge of king Francis the first, and of the things hapned in his time, let him addresse himselfe elsewhere if he will give any credit unto me. The profit he may reap here is by the particular description of the battels and exploits of warre wherein these gentlemen were present; some privie conferences, speeches, or secret actions of some princes that then lived, and the practices managed, or negotiations directed by the Lord of Langeay, in which doubtless are verie many things well worthy to be knowne, and diverse discourses not vulgare.



MONTAIGNE

WHAT IS A CLASSIC?

BY

CHARLES-AUGUSTIN SAINTE-BEUVE

TRANSLATED BY

E. LEE



INTRODUCTORY NOTE

Charles Augustin Sainte-Beuve, the foremost French critic of the nineteenth century, and, in the view of many, the greatest literary critic of the world, was born at Boulogne-sur-Mer, December 23, 1804. He studied medicine, but soon abandoned it for literature; and before he gave himself up to criticism he made some mediocre attempts in poetry and fiction. He became professor at the College de France and the Ecole Normale and was appointed Senator in 1865. A course of lectures given at Lausanne in 1837 resulted in his great "Histoire de Port-Royal" and another given at Liege in his "Chateaubriand et son groupe litteraire." But his most famous productions were his critical essays published periodically in the "Constitutionnel" the "Moniteur" and the "Temps" later collected in sets under the names of "Critiques et Portraits Litteraires" "Portraits Contemporains" "Causeries du Lundi" and "Nouveaux Lundis." At the height of his vogue, these Monday essays were events of European importance. He died in 1869.

Sainte-Beuve's work was much more than literary criticism as that type of writing had been generally conceived before his time. In place of the mere classification of books and the passing of a judgment upon them as good or bad, he sought to illuminate and explain by throwing light on a literary work from a study of the life, circumstances, and aim of the writer, and by a comparison with the literature of other times and countries. Thus his work was historical, psychological, and ethical, as well as esthetic, and demanded vast learning and a literary outlook of unparalleled breadth. In addition to this equipment he had fine taste and an admirable style; and by his universality, penetration, and balance he raised to a new level the profession of critic.



MONTAIGNE

While the good ship France is taking a somewhat haphazard course, getting into unknown seas, and preparing to double what the pilots (if there is a pilot) call the Stormy Cape, while the look-out at the mast-head thinks he sees the spectre of the giant Adamastor rising on the horizon, many honourable and peaceable men continue their work and studies all the same, and follow out to the end, or as far as they can, their favourite hobbies. I know, at the present time, a learned man who is collating more carefully than has ever yet been done the different early editions of Rabelais—editions, mark you, of which only one copy remains, of which a second is not to be found: from the careful collation of the texts some literary and maybe philosophical result will be derived with regard to the genius of the French Lucian-Aristophanes. I know another scholar whose devotion and worship is given to a very different man—to Bossuet: he is preparing a complete, exact, detailed history of the life and works of the great bishop. And as tastes differ, and "human fancy is cut into a thousand shapes" (Montaigne said that), Montaigne also has his devotees, he who, himself, was so little of one: a sect is formed round him. In his lifetime he had Mademoiselle de Gournay, his daughter of alliance, who was solemnly devoted to him; and his disciple, Charron, followed him closely, step by step, only striving to arrange his thoughts with more order and method. In our time amateurs, intelligent men, practice the religion under another form: they devote themselves to collecting the smallest traces of the author of the Essays, to gathering up the slightest relics, and Dr. Payen may be justly placed at the head of the group. For years he has been preparing a book on Montaigne, of which the title will be—"Michel de Montaigne, a collection of unedited or little known facts about the author of the Essays, his book, and his other writings, about his family, his friends, his admirers, his detractors."

While awaiting the conclusion of the book, the occupation and amusement of a lifetime, Dr. Payen keeps us informed in short pamphlets of the various works and discoveries made about Montaigne.

If we separate the discoveries made during the last five or six years from the jumble of quarrels, disputes, cavilling, quackery, and law-suits (for there have been all those), they consist in this- -

In 1846 M. Mace found in the (then) Royal Library, amongst the "Collection Du Puys," a letter of Montaigne, addressed to the king, Henri IV., September 2, 1590.

In 1847 M. Payen printed a letter, or a fragment of a letter of Montaigne of February 16, 1588, a letter corrupt and incomplete, coming from the collection of the Comtesse Boni de Castellane.

But, most important of all, in 1848, M. Horace de Viel-Castel found in London, at the British Museum, a remarkable letter of Montaigne, May 22, 1585, when Mayor of Bordeaux, addressed to M. de Matignon, the king's lieutenant in the town. The great interest of the letter is that it shows Montaigne for the first time in the full discharge of his office with all the energy and vigilance of which he was capable. The pretended idler was at need much more active than he was ready to own.

M. Detcheverry, keeper of the records to the mayoralty of Bordeaux, found and published (1850) a letter of Montaigne, while mayor, to the Jurats, or aldermen of the town, July 30, 1585.

M. Achille Jubinal found among the manuscripts of the National Library, and published (1850), a long, remarkable letter from Montaigne to the king, Henri IV., January 18, 1590, which happily coincides with that already found by M. Mace.

Lastly, to omit nothing and do justice to all, in a "Visit to Montaigne's Chateau in Perigord," of which the account appeared in 1850, M. Bertrand de Saint-Germain described the place and pointed out the various Greek and Latin inscriptions that may still be read in Montaigne's tower in the third-storey chamber (the ground floor counting as the first), which the philosopher made his library and study.

M. Payen, collecting together and criticising in his last pamphlet the various notices and discoveries, not all of equal importance, allowed himself to be drawn into some little exaggeration of praise; but we cannot blame him. Admiration, when applied to such noble, perfectly innocent, and disinterested subjects, is truly a spark of the sacred fire: it produces research that a less ardent zeal would quickly leave aside, and sometimes leads to valuable results. However, it would be well for those who, following M. Payen's example, intelligently understand and greatly admire Montaigne, to remember, even in their ardour, the advice of the wise man and the master. "There is more to do," said he, speaking of the commentators of his time, "in interpreting the interpretations than in interpreting the things themselves; and more bdoks about books than on any other subject. We do nothing, but everything swarms with commentators; of authors there is a great rarity." Authors are of great price and very scared at all times—that is to say, authors who really increase the sum of human knowledge. I should like all who write on Montaigne, and give us the details of their researches and discoveries, to imagine one thing,—Montaigne himself reading and criticising them. "What would he think of me and the manner in which I am going to speak of him to the public?" If such a question was put, how greatly it would suppress useless phrases and shorten idle discussions! M. Payen's last pamphlet was dedicated to a man who deserves equally well of Montaigne—M. Gustave Brunet, of Bordeaux. He, speaking of M. Payen, in a work in which he pointed out interesting and various corrections of Montaigne's text, said: "May he soon decide to publish the fruits of his researches: he will have left nothing for future Montaignologues" Montaignologues! Great Heaven! what would Montaigne say of such a word coined in his honour? You who occupy yourselves so meritoriously with him, but who have, I think, no claim to appropriate him to yourselves, in the name of him whom you love, and whom we all love by a greater or lesser title, never, I beg of you, use such words; they smack of the brotherhood and the sect, of pedantry and of the chatter of the schools—things utterly repugnant to Montaigne.

Montaigne had a simple, natural, affable mind, and a very happy disposition. Sprung from an excellent father, who, though of no great education, entered with real enthusiasm into the movement of the Renaissance and all the liberal novelties of his time, the son corrected the excessive enthusiasm, vivacity, and tenderness he inherited by a great refinement and justness of reflection; but he did not abjure the original groundwork. It is scarcely more than thirty years ago that whenever the sixteenth century was mentioned it was spoken of as a barbarous epoch, Montaigne only excepted: therein lay error and ignorance. The sixteenth century was a great century, fertile, powerful, learned, refined in parts, although in some aspects it was rough, violent, and seemingly coarse. What it particularly lacked was taste, if by taste is meant the faculty of clear and perfect selection, the extrication of the elements of the beautiful. But in the succeeding centuries taste quickly became distaste. If, however, in literature it was crude, in the arts properly so-called, in those of the hand and the chisel, the sixteenth century, even in France, is, in the quality of taste, far greater than the two succeeding centuries: it is neither meagre nor massive, heavy nor distorted. In art its taste is rich and of fine quality,—at once unrestrained and complex, ancient and modern, special to itself and original. In the region of morals it is unequal and mixed. It was an age of contrasts, of contrasts in all their crudity, an age of philosophy and fanaticism, of scepticism and strong faith. Everything was at strife and in collision; nothing was blended and united. Everything was in ferment; it was a period of chaos; every ray of light caused a storm. It was not a gentle age, or one we can call an age of light, but an age of struggle and combat. What distinguished Montaigne and made a phenomenon of him was, that in such an age he should have possessed moderation, caution, and order.

Born on the last day of February, 1533, taught the ancient languages as a game while still a child, waked even in his cradle by the sound of musical instruments, he seemed less fitted for a rude and violent epoch than for the commerce and sanctuary of the muses. His rare good sense corrected what was too ideal and poetical in his early education; but he preserved the happy faculty of saying everything with freshness and wit. Married, when past thirty, to an estimable woman who was his companion for twenty-eight years, he seems to have put passion only into friendship. He immortalised his love for Etienne de la Boetie, whom he lost after four years of the sweetest and closest intimacy. For some time counsellor in the Parliament of Bordeaux, Montaigne, before he was forty, retired from public life, and flung away ambition to live in his tower of Montaigne, enjoying his own society and his own intellect, entirely given up to his own observations and thoughts, and to the busy idleness of which we know all the sports and fancies. The first edition of the Essays appeared in 1580, consisting of only two books, and in a form representing only the first rough draft of what we have in the later editions. The same year Montaigne set out on a voyage to Switzerland and Italy. It was during that voyage that the aldermen of Bordeaux elected him mayor of their town. At first he refused and excused himself, but warned that it would be well to accept, and enjoined by the king, he took the office, "the more beautiful," he said, "that there was neither renunciation nor gain other than the honour of its performance." He filled the office for four years, from July 1582 to July 1586, being re-elected after the first two years. Thus Montaigne, at the age of fifty, and a little against his will, re- entered public life when the country was on the eve of civil disturbances which, quieted and lulled to sleep for a while, broke out more violently at the cry of the League. Although, as a rule, lessons serve for nothing, since the art of wisdom and happiness cannot be taught, let us not deny ourselves the pleasure of listening to Montaigne; let us look on his wisdom and happiness; let him speak of public affairs, of revolutions and disturbances, and of his way of conducting himself with regard to them. We do not put forward a model, but we offer our readers an agreeable recreation.

Although Montaigne lived in so agitated and stormy a time, a period that a man who had lived through the Terror (M. Daunou) called the most tragic century in all history, he by no means regarded his age as the worst of ages. He was not of those prejudiced and afflicted persons, who, measuring everything by their visual horizon, valuing everything according to their present sensations, alway declare that the disease they suffer from is worse than any ever before experienced by a human being. He was like Socrates, who did not consider himself a citizen of one city but of the world; with his broad and full imagination he embraced the universality of countries and of ages; he even judged more equitably the very evils of which he was witness and victim. "Who is it," he said, "that, seeing the bloody havoc of these civil wars of ours, does not cry out that the machine of the world is near dissolution, and that the day of judgment is at hand, without considering that many worse revolutions have been seen, and that, in the mean time, people are being merry in a thousand other parts of the earth for all this? For my part, considering the license and impunity that always attend such commotions, I admire they are so moderate, and that there is not more mischief done. To him who feels the hailstones patter about his ears, the whole hemisphere appears to be in storm and tempest." And raising his thoughts higher and higher, reducing his own suffering to what it was in the immensity of nature, seeing there not only himself but whole kingdoms as mere specks in the infinite, he added in words which foreshadowed Pascal, in words whose outline and salient points Pascal did not disdain to borrow: "But whoever shall represent to his fancy, as in a picture, that great image of our mother nature, portrayed in her full majesty and lustre, whoever in her face shall read so general and so constant a variety, whoever shall observe himself in that figure, and not himself but a whole kingdom, no bigger than the least touch or prick of a pencil in comparison of the whole, that man alone is able to value things according to their true estimate and grandeur."

Thus Montaigne gives us a lesson, a useless lesson, but I state it all the same, because among the many unprofitable ones that have been written down, it is perhaps of greater worth than most. I do not mean to underrate the gravity of the circumstances in which France is just now involved, for I believe there is pressing need to bring together all the energy, prudence, and courage she possesses in order that the country may come out with honour [Footnote: This essay appeared April 28, 1851]. However, let us reflect, and remember that, leaving aside the Empire, which as regards internal affairs was a period of calm, and before 1812 of prosperity, we who utter such loud complaints, lived in peace from 1815 to 1830, fifteen long years; that the three days of July only inaugurated another order of things that for eighteen years guaranteed peace and in dustrial prosperity; in all, thirty-two years of repose. Stormy days came; tempests burst, and will doubtless burst again. Let us learn how to live through them, but do not let us cry out every day, as we are disposed to do, that never under the sun were such storms known as we are enduring. To get away from the present state of feeling, to restore lucidity and proportion to our judgments, let us read every evening a page of Montaigne.

A criticism of Montaigne on the men of his day struck me, and it bears equally well on those of ours. Our philosopher says somewhere that he knows a fair number of men possessing various good qualities—one, intelligence; another, heart; another, address, conscience or knowledge, or skill in languages, each has his share: "but of a great man as a whole, having so many good qualities together, or one with such a degree of excellence that we ought to admire him, or compare him with those we honour in the past, my fortune has never shown me one." He afterwards made an exception in favour of his friend Etienne de la Boetie, but he belonged to the company of great men dead before attaining maturity, and showing promise without having time to fulfil it. Montaigne's criticism called up a smile. He did not see a true and wholly great man in his time, the age of L'Hopital, Coligny, and the Guises. Well! how does ours seem to you? We have as many great men as in Montaigne's time, one distinguished for his intellect, another for his heart, a third for skill, some (a rare thing) for conscience, many for knowledge and language. But we too lack the perfect man, and he is greatly to be desired. One of the most intelligent observers of our day recognised and proclaimed it some years ago: "Our age," said M. de Remusat, "is wanting in great men." [Footnote: Essais de Philosophie, vol. i, p. 22]

How did Montaigne conduct himself in his duties as first magistrate of a great city? If we take him literally and on a hasty first glance we should believe he discharged them slackly and languidly. Did not Horace, doing the honours to himself, say that in war he one day let his shield fall (relicta non bene parmula)? We must not be in too great a hurry to take too literally the men of taste who have a horror of over-estimating themselves. Minds of a fine quality are more given to vigilance and to action than they are apt to confess. The man who boasts and makes a great noise, will, I am almost sure, be less brave in the combat than Horace, and less vigilant at the council board than Montaigne.

On entering office Montaigne was careful to warn the aldermen of Bordeaux not to expect to find in him more than there really was; he presented himself to them without affectation. "I represented to them faithfully and conscientiously all that I felt myself to be,—a man without memory, without vigilance, without experience, and without energy; but also, without hate, without ambition, without avarice, and without violence." He should be sorry, while taking the affairs of the town in hand, that his feelings should be so strongly affected as those of his worthy father had been, who in the end had lost his place and health. The eager and ardent pledge to satisfy an impetuous desire was not his method. His opinion was "that you must lend yourself to others, and only give yourself to yourself." And repeating his thought, according to his custom in all kinds of metaphors and picturesque forms, he said again that if he some times allowed himself to be urged to the management of other men's affairs, he promised to take them in hand, not "into my lungs and liver." We are thus forewarned, we know what to expect. The mayor and Montaigne were two distinct persons; under his role and office he reserved to himself a certain freedom and secret security. He continued to judge things in his own fashion and impartially, although acting loyally for the cause confided to him. He was far from approving or even excusing all he saw in his party, and he could judge his adversaries and say of them: "He did that thing wickedly, and this virtuously." "I would have," he added, "matters go well on our side; but if they do not, I shall not run mad. I am heartily for the right party; but I do not affect to be taken notice of for an especial enemy to others." And he entered into some details and applications which at that time were piquant. Let us remark, however, in order to explain and justify his somewhat extensive profession of impartiality, that the chiefs of the party then in evidence, the three Henris, were famous and considerable men on several counts: Henri, Duke of Guise, head of the League; Henri, King of Navarre, leader of the Opposition; and the King Henri III. in whose name Montaigne was mayor, who wavered between the two. When parties have neither chief nor head, when they are known by the body only, that is to say, in their hideous and brutal reality, it is more difficult and also more hazardous to be just towards them and to assign to each its share of action.

The principle which guided him in his administration was to look only at the fact, at the result, and to grant nothing to noise and outward show: "How much more a good effect makes a noise, so much I abate of the goodness of it." For it is always to be feared that it was more performed for the sake of the noise than upon the account of goodness: "Being exposed upon the stall, 'tis half sold." That was not Montaigne's way: he made no show; he managed men and affairs as quietly as he could; he employed in a manner useful to all alike the gifts of sincerity and conciliation; the personal attraction with which nature endowed him was a quality of the highest value in the management of men. He preferred to warn men of evil rather than to take on himself the honour of repressing it: "Is there any one who desires to be sick that he may see his physician's practice? And would not that physician deserve to be whipped who should wish the plague amongst us that he might put his art into practice?" Far from desiring that trouble and disorder in the affairs of the city should rouse and honour his govern ment, he had ever willingly, he said, contributed all he could to their tranquillity and ease. He is not of those whom municipal honours intoxicate and elate, those "dignities of office" as he called them, and of which all the noise "goes from one cross-road to another." If he was a man desirous of fame, he recognised that it was of a kind greater than that. I do not know, however, if even in a vaster field he would have changed his method and manner of proceed ing. To do good for the public imperceptibly would always seem to him the ideal of skill and the culminating point of happiness. "He who will not thank me," he said, "for the order and quiet calm that has accompanied my administration, cannot, however, deprive me of the share that belongs to me by the title of my good fortune." And he is inexhaustible in describing in lively and graceful expressions the kinds of effective and imperceptible services he believed he had rendered—services greatly superior to noisy and glorious deeds: "Actions which come from the workman's hand carelessly and noiselessly have most charm, that some honest man chooses later and brings from their obscurity to thrust them into the light for their own sake." Thus fortune served Montaigne to perfection, and even in his administration of affairs, in difficult conjunctures, he never had to belie his maxim, nor to step very far out of the way of life he had planned: "For my part I commend a gliding, solitary, and silent life." He reached the end of his magistracy almost satisfied with himself, having accomplished what he had promised himself, and much more than he had promised others.

The letter lately discovered by M. Horace de Viel-Castel corroborates the chapter in which Montaigne exhibits and criticises himself in the period of his public life. "That letter," says M. Payen, "is entirely on affairs. Montaigne is mayor; Bordeaux, lately disturbed, seems threatened by fresh agitations; the king's lieutenant is away. It is Wednesday, May 22, 1585; it is night, Montaigne is wakeful, and writes to the governor of the province." The letter, which is of too special and local an interest to be inserted here, may be summed up in these words:—Montaigne regretted the absence of Marshal de Matignon, and feared the consequences of its prolongation; he was keeping, and would continue to keep, him acquainted with all that was going on, and begged him to return as soon as his circumstances would permit. "We are looking after our gates and guards, and a little more carefully in your absence. . . . If anything important and fresh occurs, I shall send you a messenger immediately, so that if you hear no news from me, you may consider that nothing has happened." He begs M. de Matignon to remember, however, that he might not have time to warn him, "entreating you to consider that such movements are usually so sudden, that if they do occur they will take me by the throat without any warning." Besides, he will do everything to ascertain the march of events beforehand. "I will do what I can to hear news from all parts, and to that end shall visit and observe the inclinations of all sorts of men." Lastly, after keeping the marshal informed of everything, of the least rumours abroad in the city, he pressed him to return, assuring him "that we spare neither our care, nor, if need be, our lives to preserve everything in obedience to the king." Montaigne was never prodigal of protestations and praises, and what with others was a mere form of speech, was with him a real undertaking and the truth.

Things, however, became worse and worse: civil war broke out; friendly or hostile parties (the difference was not great) infested the country. Montaigne, who went to his country house as often as he could, whenever the duties of his office, which was drawing near its term, did not oblige him to be in Bordeaux, was exposed to every sort of insult and outrage. "I underwent," he said, "the inconveniences that moderation brings along with it in such a disease. I was pitied on all hands; to the Ghibelline I was a Guelph, and to the Guelph a Ghibelline." In the midst of his personal grievances he could disengage and raise his thoughts to reflections on the public misfortunes and on the degradation of men's characters. Considering closely the disorder of parties, and all the abject and wretched things which developed so quickly, he was ashamed to see leaders of renown stoop and debase themselves by cowardly complacency; for in those circumstances we know, like him, "that in the word of command to march, draw up, wheel, and the like, we obey him indeed; but all the rest is dissolute and free." "It pleases me," said Montaigne ironically, "to observe how much pusillanimity and cowardice there is in ambition; by how abject and servile ways it must arrive at its end." Despising ambition as he did, he was not sorry to see it unmasked by such practices and degraded in his sight. However, his goodness of heart overcoming his pride and contempt, he adds sadly, "it displeases me to see good and generous natures, and that are capable of justice, every day corrupted in the management and command of this confusion. . . . We had ill-contrived souls enough without spoiling those that were generous and good." He rather sought in that misfortune an opportunity and motive for fortifying and strengthening himself. Attacked one by one by many disagreeables and evils, which he would have endured more cheerfully in a heap—that is to say, all at once- -pursued by war, disease, by all the plagues (July 1585), in the course things were taking, he already asked himself to whom he and his could have recourse, of whom he could ask shelter and subsistence for his old age; and having looked and searched thoroughly all around, he found himself actually destitute and RUINED. For, "to let a man's self fall plumb down, and from so great a height, it ought to be in the arms of a solid, vigorous, and fortunate friendship. They are very rare, if there be any." Speaking in such a manner, we perceive that La Boetie had been some time dead. Then he felt that he must after all rely on himself in his distress, and must gain strength; now or never was the time to put into practice the lofty lessons he spent his life in collecting from the books of the philosophers. He took heart again, and attained all the height of his virtue: "In an ordinary and quiet time, a man prepares himself for moderate and common accidents; but in the confusion wherein we have been for these thirty years, every Frenchman, whether in particular or in general, sees himself every hour upon the point of the total ruin and overthrow of his fortune." And far from being discouraged and cursing fate for causing him to be born in so stormy an age, he suddenly congratulated himself: "Let us thank fortune that has not made us live in an effeminate, idle and languishing age." Since the curiosity of wise men seeks the past for disturbances in states in order to learn the secrets of history, and, as we should say, the whole physiology of the body social, "so does my curiosity," he declares, "make me in some sort please myself with seeing with my own eyes this notable spectacle of our public death, its forms and symptoms; and, seeing I could not hinder it, am content to be destined to assist in it, and thereby to instruct myself." I shall not suggest a consolation of that sort to most people; the greater part of mankind does not possess the heroic and eager curiosity of Empedocles and the elder Pliny, the two intrepid men who went straight to the volcanoes and the disturbances of nature to examine them at close quarters, at the risk of destruction and death. But to a man of Montaigne's nature, the thought of that stoical observation gave him consolation even amid real evils. Considering the condition of false peace and doubtful truce, the regime of dull and profound corruption which had preceded the last disturbances, he almost congratulated himself on seeing their cessation; for "it was," he said of the regime of Henri III., "an universal juncture of particular members, rotten to emulation of one another, and the most of them with inveterate ulcers, that neither required nor admitted of any cure. This conclusion therefore did really more animate than depress me." Note that his health, usually delicate, is here raised to the level of his morality, although what it had suffered through the various disturbances might have been enough to undermine it. He had the satisfaction of feeling that he had some hold against fortune, and that it would take a greater shock still to crush him.

Another consideration, humbler and more humane, upheld him in his troubles, the consolation arising from a common misfortune, a misfortune shared by all, and the sight of the courage of others. The people, especially the real people, they who are victims and not robbers, the peasants of his district, moved him by the manner in which they endured the same, or even worse, troubles than his. The disease or plague which raged at that time in the country pressed chiefly on the poor; Montaigne learned from them resignation and the practice of philosophy. "Let us look down upon the poor people that we see scattered upon the face of the earth, prone and intent upon their business, that neither know Aristotle nor Cato, example nor precept. Even from these does nature every day extract effects of constancy and patience, more pure and manly than those we so inquisitively study in the schools." And he goes on to describe them working to the bitter end, even in their grief, even in disease, until their strength failed them. "He that is now digging in my garden has this morning buried his father, or his son. . . . They never keep their beds but to die." The whole chapter is fine, pathetic, to the point, evincing noble, stoical elevation of mind, and also the cheerful and affable disposition which Montaigne said, with truth, was his by inheritance, and in which he had been nourished. There could be nothing better as regards "consolation in public calamities," except a chapter of some not more human, but of some truly divine book, in which the hand of God should be everywhere visible, not perfunctorily, as with Montaigne, but actually and lovingly present. In fact, the consolation Montaigne gives himself and others is perhaps as lofty and beautiful as human consolation without prayer can be.

He wrote the chapter, the twelfth of the third book, in the midst of the evils described, and before they were ended. He concluded it in his graceful and poetical way with a collection of examples, "a heap of foreign flowers," to which he furnished only the thread for fastening them together.

There is Montaigne to the life; no matter how seriously he spoke, it was always with the utmost charm. To form an opinion on his style you have only to open him indifferently at any page and listen to his talk on any subject; there is none that he did not enliven and make suggestive. In the chapter "Of Liars," for instance, after enlarging on his lack of memory and giving a list of reasons by which he might console himself, he suddenly added this fresh and delightful reason, that, thanks to his faculty for forgetting, "the places I revisit, and the books I read over again, always smile upon me with a fresh novelty." It is thus that on every subject he touched he was continually new, and created sources of freshness.

Montesquieu, in a memorable exclamation, said: "The four great poets, Plato, Malebranche, Shaftesbury, Montaigne!" How true it is of Montaigne! No French writer, including the poets proper, had so lofty an idea of poetry as he had. "From my earliest childhood," he said, "poetry had power over me to transport and transpierce me." He considered, and therein shows penetration, that "we have more poets than judges and interpreters of poetry. It is easier to write than to understand." In itself and its pure beauty his poetry defies definition; whoever desired to recognise it at a glance and discern of what it actually consisted would see no more than "the brilliance of a flash of lightning." In the constitution and continuity of his style, Montaigne is a writer very rich in animated, bold similes, naturally fertile in metaphors that are never detached from the thought, but that seize it in its very centre, in its interior, that join and bind it. In that respect, fully obeying his own genius, he has gone beyond and some times exceeded the genius of language. His concise, vigorous and always forcible style, by its poignancy, emphasises and repeats the meaning. It may be said of his style that it is a continual epigram, or an ever-renewed metaphor, a style that has only been successfully employed by the French once, by Montaigne himself. If we wanted to imitate him, supposing we had the power and were naturally fitted for it—if we desired to write with his severity, exact proportion, and diverse continuity of figures and turns—it would be necessary to force our language to be more powerful, and poetically more complete, than is usually our custom. Style a la Montaigne, consistent, varied in the series and assortment of the metaphors, exacts the creation of a portion of the tissue itself to hold them. It is absolutely necessary that in places the woof should be enlarged and extended, in order to weave into it the metaphor; but in defining him I come almost to write like him. The French language, French prose, which in fact always savours more or less of conversation, does not, naturally, possess the resources and the extent of canvas necessary for a continued picture: by the side of an animated metaphor it will often exhibit a sudden lacuna and some weak places. In filling this by boldness and invention as Montaigne did, in creating, in imagining the expression and locution that is wanting, our prose should appear equally finished. Style a la Montaigne would, in many respects, be openly at war with that of Voltaire. It could only come into being and flourish in the full freedom of the sixteenth century, in a frank, ingenious, jovial, keen, brave, and refined mind, of an unique stamp, that even for that time, seemed free and somewhat licentious, and that was inspired and emboldened, but not intoxicated by the pure and direct spirit of ancient sources.

Such as he is, Montaigne is the French Horace; he is Horatian in the groundwork, often in the form and expression, although in that he sometimes approaches Seneca. His book is a treasure-house of moral observations and of experience; at whatever page it is opened, and in what ever condition of mind, some wise thought expressed in a striking and enduring fashion is certain to be found. It will at once detach itself and engrave itself on the mind, a beautiful meaning in full and forcible words, in one vigorous line, familiar or great. The whole of his book, said Etienne Pasquier, is a real seminary of beautiful and remarkable sentences, and they come in so much the better that they run and hasten on without thrusting them selves into notice. There is something for every age, for every hour of life: you cannot read in it for any time without having the mind filled and lined as it were, or, to put it better, fully armed and clothed. We have just seen how much useful counsel and actual consolation it contains for an honourable man, born for private life, and fallen on times of disturbance and revolution. To this I shall add the counsel he gave those who, like myself and many men of my acquaintance, suffer from political disturbances without in any way provoking them, or believing ourselves capable of averting them. Montaigne, as Horace would have done, counsels them, while apprehending everything from afar off, not to be too much preoccupied with such matters in advance; to take advantage to the end of pleasant moments and bright intervals. Stroke on stroke come his piquant and wise similes, and he concludes, to my thinking, with the most delightful one of all, and one, besides, entirely appropriate and seasonable: it is folly and fret, he said, "to take out your furred gown at Saint John because you will want it at Christmas."



WHAT IS A CLASSIC?

A delicate question, to which somewhat diverse solutions might be given according to times and seasons. An intelligent man suggests it to me, and I intend to try, if not to solve it, at least to examine and discuss it face to face with my readers, were it only to persuade them to answer it for themselves, and, if I can, to make their opinion and mine on the point clear. And why, in criticism, should we not, from time to time, venture to treat some of those subjects which are not personal, in which we no longer speak of some one but of some thing? Our neighbours, the English, have well succeeded in making of it a special division of literature under the modest title of "Essays." It is true that in writing of such subjects, always slightly abstract and moral, it is advisable to speak of them in a season of quiet, to make sure of our own attention and of that of others, to seize one of those moments of calm moderation and leisure seldom granted our amiable France; even when she is desirous of being wise and is not making revolutions, her brilliant genius can scarcely tolerate them.

A classic, according to the usual definition, is an old author canonised by admiration, and an authority in his particular style. The word classic was first used in this sense by the Romans. With them not all the citizens of the different classes were properly called classici, but only those of the chief class, those who possessed an income of a certain fixed sum. Those who possessed a smaller income were described by the term infra classem, below the preeminent class. The word classicus was used in a figurative sense by Aulus Gellius, and applied to writers: a writer of worth and distinction, classicus assiduusque scriptor, a writer who is of account, has real property, and is not lost in the proletariate crowd. Such an expression implies an age sufficiently advanced to have already made some sort of valuation and classification of literature.

At first the only true classics for the moderns were the ancients. The Greeks, by peculiar good fortune and natural enlightenment of mind, had no classics but themselves. They were at first the only classical authors for the Romans, who strove and contrived to imitate them. After the great periods of Roman literature, after Cicero and Virgil, the Romans in their turn had their classics, who became almost exclusively the classical authors of the centuries which followed. The middle ages, which were less ignorant of Latin antiquity than is believed, but which lacked proportion and taste, confused the ranks and orders. Ovid was placed above Homer, and Boetius seemed a classic equal to Plato. The revival of learning in the fifteenth and sixteenth centuries helped to bring this long chaos to order, and then only was admiration rightly proportioned. Thenceforth the true classical authors of Greek and Latin antiquity stood out in a luminous background, and were harmoniously grouped on their two heights.

Meanwhile modern literatures were born, and some of the more precocious, like the Italian, already possessed the style of antiquity. Dante appeared, and, from the very first, posterity greeted him as a classic. Italian poetry has since shrunk into far narrower bounds; but, whenever it desired to do so, it always found again and preserved the impulse and echo of its lofty origin. It is no indifferent matter for a poetry to derive its point of departure and classical source in high places; for example, to spring from Dante rather than to issue laboriously from Malherbe.

Modern Italy had her classical authors, and Spain had every right to believe that she also had hers at a time when France was yet seeking hers. A few talented writers en dowed with originality and exceptional animation, a few brilliant efforts, isolated, without following, interrupted and recommenced, did not suffice to endow a nation with a solid and imposing basis of literary wealth. The idea of a classic implies something that has continuance and consistence, and which produces unity and tradition fashions and transmits itself, and endures. It was only after the glorious years of Louis XIV. that the nation felt with tremor and pride that such good fortune had happened to her. Every voice in formed Louis XIV. of it with flattery, exaggeration, and emphasis, yet with a certain sentiment of truth. Then arose a singular and striking contradiction: those men of whom Perrauit was the chief, the men who were most smitten with the marvels of the age of Louis the Great, who even went the length of sacrificing the ancients to the moderns, aimed at exalting and canonising even those whom they regarded as inveterate opponents and adversaries. Boileau avenged and angrily upheld the ancients against Perrault, who extolled the moderns—that is to say, Corneille, Moliere, Pascal, and the eminent men of his age, Boileau, one of the first, included. Kindly La Fontaine, taking part in the dispute in behalf of the learned Huet, did not perceive that, in spite of his defects, he was in his turn on the point of being held as a classic himself.

Example is the best definition. From the time France possessed her age of Louis XIV. and could contemplate it at a little distance, she knew, better than by any arguments, what to be classical meant. The eighteenth century, even in its medley of things, strengthened this idea through some fine works, due to its four great men. Read Voltaire's Age of Louis XIV., Montesquieu's Greatness and Fall of the Romans, Buffon's Epochs of Nature, the beautiful pages of reverie and natural description of Rousseau's Savoyard Vicar, and say if the eighteenth century, in these memorable works, did not understand how to reconcile tradition with freedom of development and independence. But at the be ginning of the present century and under the Empire, in sight of the first attempts of a decidedly new and somewhat adventurous literature, the idea of a classic in a few resist ing minds, more sorrowful than severe, was strangely nar rowed and contracted. The first Dictionary of the Academy (1694) merely defined a classical author as "a much-approved ancient writer, who is an authority as regards the subject he treats." The Dictionary of the Academy of 1835 narrows that definition still more, and gives precision and even limit to its rather vague form. It describes classical authors as those "who have become models in any language whatever," and in all the articles which follow, the expressions, models, fixed rules for composition and style, strict rules of art to which men must conform, continually recur. That definition of classic was evidently made by the respectable Academicians, our predecessors, in face and sight of what was then called romantic—that is to say, in sight of the enemy. It seems to me time to renounce those timid and restrictive definitions and to free our mind of them. A true classic, as I should like to hear it defined, is an author who has enriched the human mind, increased its treasure, and caused it to advance a step; who has discovered some moral and not equivocal truth, or revealed some eternal passion in that heart where all seemed known and discovered; who has expressed his thought, observation, or invention, in no matter what form, only provided it be broad and great, refined and sensible, sane and beautiful in itself; who has spoken to all in his own peculiar style, a style which is found to be also that of the whole world, a style new without neologism, new and old, easily contemporary with all time.

Such a classic may for a moment have been revolutionary; it may at least have seemed so, but it is not; it only lashed and subverted whatever prevented the restoration of the balance of order and beauty.

If it is desired, names may be applied to this definition which I wish to make purposely majestic and fluctuating, or in a word, all- embracing. I should first put there Corneille of the Polyeucte, Cinna, and Horaces. I should put Moliere there, the fullest and most complete poetic genius we have ever had in France. Goethe, the king of critics, said:—

"Moliere is so great that he astonishes us afresh every time we read him. He is a man apart; his plays border on the tragic, and no one has the courage to try and imitate him. His Avare, where vice destroys all affection between father and son, is one of the most sublime works, and dramatic in the highest degree. In a drama every action ought to be important in itself, and to lead to an action greater still. In this respect Tartuffe is a model. What a piece of exposition the first scene is! From the beginning everything has an important meaning, and causes something much more important to be foreseen. The exposition in a certain play of Lessing that might be mentioned is very fine, but the world only sees that of Tartuffe once. It is the finest of the kind we possess. Every year I read a play of Moliere, just as from time to time I contemplate some engraving after the great Italian masters."

I do not conceal from myself that the definition of the classic I have just given somewhat exceeds the notion usually ascribed to the term. It should, above all, include conditions of uniformity, wisdom, moderation, and reason, which dominate and contain all the others. Having to praise M. Royer-Collard, M. de Remusat said—"If he derives purity of taste, propriety of terms, variety of expression, attentive care in suiting the diction to the thought, from our classics, he owes to himself alone the distinctive character he gives it all." It is here evident that the part allotted to classical qualities seems mostly to depend on harmony and nuances of expression, on graceful and temperate style: such is also the most general opinion. In this sense the pre-eminent classics would be writers of a middling order, exact, sensible, elegant, always clear, yet of noble feeling and airily veiled strength. Marie-Joseph Chenier has described the poetics of those temperate and accomplished writers in lines where he shows himself their happy disciple:—

"It is good sense, reason which does all,—virtue, genius, soul, talent, and taste.—What is virtue? reason put in practice;—talent? reason expressed with brilliance;—soul? reason delicately put forth;—and genius is sublime reason."

While writing those lines he was evidently thinking of Pope, Boileau, and Horace, the master of them all. The peculiar characteristic of the theory which subordinated imagination and feeling itself to reason, of which Scaliger perhaps gave the first sign among the moderns, is, properly speaking, the Latin theory, and for a long time it was also by preference the French theory. If it is used appositely, if the term reason is not abused, that theory possesses some truth; but it is evident that it is abused, and that if, for instance, reason can be confounded with poetic genius and make one with it in a moral epistle, it cannot be the same thing as the genius, so varied and so diversely creative in its expression of the passions, of the drama or the epic. Where will you find reason in the fourth book of the AEneid and the transports of Dido? Be that as it may, the spirit which prompted the theory, caused writers who ruled their inspiration, rather than those who abandoned themselves to it, to be placed in the first rank of classics; to put Virgil there more surely than Homer, Racine in preference to Corneille. The masterpiece to which the theory likes to point, which in fact brings together all conditions of prudence, strength, tempered boldness, moral elevation, and grandeur, is Athalie. Turenne in his two last campaigns and Racine in Athalie are the great examples of what wise and prudent men are capable of when they reach the maturity of their genius and attain their supremest boldness.

Buffon, in his Discourse on Style, insisting on the unity of design, arrangement, and execution, which are the stamps of true classical works, said:—"Every subject is one, and however vast it is, it can be comprised in a single treatise. Interruptions, pauses, sub- divisions should only be used when many subjects are treated, when, having to speak of great, intricate, and dissimilar things, the march of genius is interrupted by the multiplicity of obstacles, and contracted by the necessity of circumstances: otherwise, far from making a work more solid, a great number of divisions destroys the unity of its parts; the book appears clearer to the view, but the author's design remains obscure." And he continues his criticism, having in view Montesquieu's Spirit of Laws, an excellent book at bottom, but sub-divided: the famous author, worn out before the end, was unable to infuse inspiration into all his ideas, and to arrange all his matter. However, I can scarcely believe that Buffon was not also thinking, by way of contrast, of Bossuet's Discourse on Universal History, a subject vast indeed, and yet of such an unity that the great orator was able to comprise it in a single treatise. When we open the first edition, that of 1681, before the division into chapters, which was introduced later, passed from the margin into the text, very thing is developed in a single series, almost in one breath. It might be said that the orator has here acted like the nature of which Buffon speaks, that "he has worked on an eternal plan from which he has nowhere departed," so deeply does he seem to have entered into the familiar counsels and designs of providence.

Are Athalie and the Discourse on Universal History the greatest masterpieces that the strict classical theory can present to its friends as well as to its enemies? In spite of the admirable simplicity and dignity in the achievement of such unique productions, we should like, nevertheless, in the interests of art, to expand that theory a little, and to show that it is possible to enlarge it without relaxing the tension. Goethe, whom I like to quote on such a subject, said:—

"I call the classical healthy, and the romantic sickly. In my opinion the Nibelungen song is as much a classic as Homer. Both are healthy and vigorous. The works of the day are romantic, not because they are new, but because they are weak, ailing, or sickly. Ancient works are classical not because they are old, but because they are powerful, fresh, and healthy. If we regarded romantic and classical from those two points of view we should soon all agree."

Indeed, before determining and fixing the opinions on that matter, I should like every unbiassed mind to take a voyage round the world and devote itself to a survey of different literatures in their primitive vigour and infinite variety. What would be seen? Chief of all a Homer, the father of the classical world, less a single distinct individual than the vast living expression of a whole epoch and a semi-barbarous civilisation. In order to make him a true classic, it was necessary to attribute to him later a design, a plan, literary invention, qualities of atticism and urbanity of which he had certainly never dreamed in the luxuriant development of his natural inspirations. And who appear by his side? August, venerable ancients, the AEschyluses and the Sophocles, mutilated, it is true, and only there to present us with a debris of themselves, the survivors of many others as worthy, doubtless, as they to survive, but who have succumbed to the injuries of time. This thought alone would teach a man of impartial mind not to look upon the whole of even classical literatures with a too narrow and restricted view; he would learn that the exact and well-proportioned order which has since so largely prevailed in our admiration of the past was only the outcome of artificial circumstances.

And in reaching the modern world, how would it be? The greatest names to be seen at the beginning of literatures are those which disturb and run counter to certain fixed ideas of what is beautiful and appropriate in poetry. For example, is Shakespeare a classic? Yes, now, for England and the world; but in the time of Pope he was not considered so. Pope and his friends were the only pre-eminent classics; directly after their death they seemed so for ever. At the present time they are still classics, as they deserve to be, but they are only of the second order, and are for ever subordinated and relegated to their rightful place by him who has again come to his own on the height of the horizon.

It is not, however, for me to speak ill of Pope or his great disciples, above all, when they possess pathos and naturalness like Goldsmith: after the greatest they are perhaps the most agreeable writers and the poets best fitted to add charm to life. Once when Lord Bolingbroke was writing to Swift, Pope added a postscript, in which he said—"I think some advantage would result to our age, if we three spent three years together." Men who, without boasting, have the right to say such things must never be spoken of lightly: the fortunate ages, when men of talent could propose such things, then no chimera, are rather to be envied. The ages called by the name of Louis XIV. or of Queen Anne are, in the dispassionate sense of the word, the only true classical ages, those which offer protection and a favourable climate to real talent. We know only to well how in our untrammelled times, through the instability and storminess of the age, talents are lost and dissipated. Nevertheless, let us acknowledge our age's part and superiority in greatness. True and sovereign genius triumphs over the very difficulties that cause others to fail: Dante, Shakespeare, and Milton were able to attain their height and produce their imperishable works in spite of obstacles, hardships and tempests. Byron's opinion of Pope has been much discussed, and the explanation of it sought in the kind of contradiction by which the singer of Don Juan and Childe Harold extolled the purely classical school and pronounced it the only good one, while himself acting so differently. Goethe spoke the truth on that point when he remarked that Byron, great by the flow and source of poetry, feared that Shakespeare was more powerful than himself in the creation and realisation of his characters. "He would have liked to deny it; the elevation so free from egoism irritated him; he felt when near it that he could not display himself at ease. He never denied Pope, because he did not fear him; he knew that Pope was only a low wall by his side."

If, as Byron desired, Pope's school had kept the supremacy and a sort of honorary empire in the past, Byron would have been the first and only poet in his particular style; the height of Pope's wall shuts out Shakespeare's great figure from sight, whereas when Shakespeare reigns and rules in all his greatness, Byron is only second.

In France there was no great classic before the age of Louis XIV.; the Dantes and Shakespeares, the early authorities to whom, in times of emancipation, men sooner or later return, were wanting. There were mere sketches of great poets, like Mathurin Regnier, like Rabelais, without any ideal, without the depth of emotion and the seriousness which canonises. Montaigne was a kind of premature classic, of the family of Horace, but for want of worthy surroundings, like a spoiled child, he gave himself up to the unbridled fancies of his style and humour. Hence it happened that France, less than any other nation, found in her old authors a right to demand vehemently at a certain time literary liberty and freedom, and that it was more difficult for her, in enfranchising herself, to remain classical. However, with Moliere and La Fontaine among her classics of the great period, nothing could justly be refused to those who possessed courage and ability.

The important point now seems to me to be to uphold, while extending, the idea and belief. There is no receipt for making classics; this point should be clearly recognised. To believe that an author will become a classic by imitating certain qualities of purity, moderation, accuracy, and elegance, independently of the style and inspiration, is to believe that after Racine the father there is a place for Racine the son; dull and estimable role, the worst in poetry. Further, it is hazardous to take too quickly and without opposition the place of a classic in the sight of one's contemporaries; in that case there is a good chance of not retaining the position with posterity. Fontanes in his day was regarded by his friends as a pure classic; see how at twenty-five years' distance his star has set. How many of these precocious classics are there who do not endure, and who are so only for a while! We turn round one morning and are surprised not to find them standing behind us. Madame de Sevigne would wittily say they possessed but an evanescent colour. With regard to classics, the least expected prove the best and greatest: seek them rather in the vigorous genius born immortal and flourishing for ever. Apparently the least classical of the four great poets of the age of Louis XIV. was Moliere; he was then applauded far more than he was esteemed; men took delight in him without understanding his worth. After him, La Fontaine seemed the least classical: observe after two centuries what is the result for both. Far above Boileau, even above Racine, are they not now unanimously considered to possess in the highest degree the characteristics of an all-embracing morality?

Meanwhile there is no question of sacrificing or depreciating anything. I believe the temple of taste is to be rebuilt; but its reconstruction is merely a matter of enlargement, so that it may become the home of all noble human beings, of all who have permanently increased the sum of the mind's delights and possessions. As for me, who cannot, obviously, in any degree pretend to be the architect or designer of such a temple, I shall confine myself to expressing a few earnest wishes, to submit, as it were, my designs for the edifice. Above all I should desire not to exclude any one among the worthy, each should be in his place there, from Shakespeare, the freest of creative geniuses, and the greatest of classics without knowing it, to Andrieux, the last of classics in little. "There is more than one chamber in the mansions of my Father;" that should be as true of the kingdom of the beautiful here below, as of the kingdom of Heaven. Homer, as always and everywhere, should be first, likest a god; but behind him, like the procession of the three wise kings of the East, would be seen the three great poets, the three Homers, so long ignored by us, who wrote epics for the use of the old peoples of Asia, the poets Valmiki, Vyasa of the Hindoos, and Firdousi of the Persians: in the domain of taste it is well to know that such men exist, and not to divide the human race. Our homage paid to what is recognized as soon as perceived, we must not stray further; the eye should delight in a thousand pleasing or majestic spectacles, should rejoice in a thousand varied and surprising combinations, whose apparent confusion would never be without concord and harmony. The oldest of the wise men and poets, those who put human morality into maxims, and those who in simple fashion sung it, would converse together in rare and gentle speech, and would not be surprised at understanding each other's meaning at the very first word. Solon, Hesiod, Theognis, Job, Solomon, and why not Confucius, would welcome the cleverest moderns, La Rochefoucauld and La Bruyere, who, when listening to them, would say "they knew all that we know, and in repeating life's experiences, we have discovered nothing." On the hill, most easily discernible, and of most accessible ascent, Virgil, surrounded by Menander, Tibullus, Terence, Fenelon, would occupy himself in discoursing with them with great charm and divine enchantment: his gentle countenance would shine with an inner light, and be tinged with modesty; as on the day when entering the theatre at Rome, just as they finished reciting his verses, he saw the people rise with an unanimous movement and pay to him the same homage as to Augustus. Not far from him, regretting the separation from so dear a friend, Horace, in his turn, would preside (as far as so accomplished and wise a poet could preside) over the group of poets of social life who could talk although they sang,—Pope, Boileau, the one become less irritable, the other less fault-finding. Montaigne, a true poet, would be among them, and would give the finishing touch that should deprive that delightful corner of the air of a literary school. There would La Fontaine forget himself, and becoming less volatile would wander no more. Voltaire would be attracted by it, but while finding pleasure in it would not have patience to remain. A little lower down, on the same hill as Virgil, Xenophon, with simple bearing, looking in no way like a general, but rather resembling a priest of the Muses, would be seen gathering round him the Attics of every tongue and of every nation, the Addisons, Pellissons, Vauvenargues—all who feel the value of an easy persuasiveness, an exquisite simplicity, and a gentle negligence mingled with ornament. In the centre of the place, in the portico of the principal temple (for there would be several in the enclosure), three great men would like to meet often, and when they were together, no fourth, however great, would dream of joining their discourse or their silence. In them would be seen beauty, proportion in greatness, and that perfect harmony which appears but once in the full youth of the world. Their three names have become the ideal of art—Plato, Sophocles, and Demosthenes. Those demi-gods honoured, we see a numerous and familiar company of choice spirits who follow, the Cervantes and Molieres, practical painters of life, indulgent friends who are still the first of benefactors, who laughingly embrace all mankind, turn man's experience to gaiety, and know the powerful workings of a sensible, hearty, and legitimate joy. I do not wish to make this description, which if complete would fill a volume, any longer. In the middle ages, believe me, Dante would occupy the sacred heights: at the feet of the singer of Paradise all Italy would be spread out like a garden; Boccaccio and Ariosto would there disport themselves, and Tasso would find again the orange groves of Sorrento. Usually a corner would be reserved for each of the various nations, but the authors would take delight in leaving it, and in their travels would recognise, where we should least expect it, brothers or masters. Lucretius, for example, would enjoy discussing the origin of the world and the reducing of chaos to order with Milton. But both arguing from their own point of view, they would only agree as regards divine pictures of poetry and nature.