Edmund Gosse

“ Ronsard's magnificent audacity had conquered for poetry, an art which had hitherto enjoyed little honour in France, the foremost position in the world of mental activity. Verse, which had been treated as a butterfly skipping from flower to flower, was now celebrated by the Pléiade as a temple, as a sunrise, as the apotheosis of the intellect. Immensely flattered by being suddenly lifted to the status of a priesthood, all the budding versifiers of France, who a generation earlier would have withered into insignificance, expanded into affluent and profuse blossom. ”

“ On the whole, then, it is not possible to regard the place which George Eliot holds in English literature as so prominent a one as was rather rashly awarded her by her infatuated contemporaries. It is the inevitable result of "tall talk" about likeness to Dante and Goethe that the figure so unduly magnified fails to support such comparisons when the perspective is lengthened. George Eliot is unduly neglected now, but it is the revenge of time on her for the praise expended on her works in her lifetime. Another matter which militates against her fame to-day is her strenuous solemnity. ”

“ For the next eight or nine years, Gourmont, abandoning politics, in which he had made so luckless an adventure, devoted himself exclusively to art and letters. He joined the staff of the Mercure de France; and under its director, and his life-long friend, M. Vallette, he took part in all the symbolist polemics of the hour. He defended each new man of merit with his active partisanship; he wrote ceaselessly; verse, art criticism, humanism, novels, every species of fantastic and esoteric literature flowed from his abundant pen. ”

“ All the anecdotes of her discipline in her salon show the coolness of her judgment and the velvet strength of her hand. She was capable of strong dislike, yet with an Italian faculty for concealing it. She hated Louis XIII to the inmost fibre of her being, for what seemed to her his despicable qualities, yet he never discovered it.
Those who regard Catherine de Rambouillet as one of the most engaging figures of Europe in the seventeenth century, must regret that, from an age where portrait-painting was so largely cultivated, no picture of her has come down to us. ”

“ Everywhere something conquers something else which is conquered, and life sustains itself and ensures its own permanence by spreading death around it. Life, in fact, depends on death for its sustaining energy, and the fiercer the passion of vitality the more vehemently flourishes the instinct of destruction.
The imagination of the author of La Mêlée Sociale broods upon the monstrous facts of natural history. If he traverses a woodland, he is conscious of a silent army of beasts and birds and insects, and even of trees and plants, which are waging ceaseless battle against others of their kind. ”

“ Some recollections of the outer presence of Emile Faguet should not be without value to us in fixing the character of his inner life, the spirit which pervaded his profuse and honest labour. No one in the history of literature has been more distinguished for intellectual probity; and no one has cared less for appearances, or for the glorification of his own character and cleverness. His value as a critic consists primarily in his capacity for thoroughly understanding what each author under consideration meant by this or that expression of his art. ”

“ In that extraordinary little tragedy of Victor Hugo, Mangeront-ils, the vain appeal is made:
Est-ce pas,
Nature, que tu hais les semeurs de trépas,
Qui dans l'air frappent l'aigle et sur l'eau la sarcelle,
Et font partout saigner la vie universelle?
With the clairvoyance of the biologist, M. Clemenceau divines the vanity of these remonstrances, and from the terrible cruelty of Nature he sees no relief save in vigorous action. "Toute âme haute veut être de la mêlée." The most troublous epochs are battles for the ideal, even at their worst moments. ”

“ Here, to quite a remarkable extent, we find the old stateliness of the fabulous society, the old ceremonial procession of wonderful events and incredible people. Here, once more, we enter a world as audaciously designed as Ariosto's, as intricately splendid as Spenser's. Here, again, is what a critic of The Faerie Queene has called "the inexhaustible succession of circumstance, fantasy, and incident." The vulgarity of present existence is buried under such a panoply and magnificence of fable that the grown-up children, the blessed enfants d'hier, can forget and ignore it. ”

“ It would therefore be ungrateful to speak of the Hôtel de Rambouillet without paying a tribute to the strange quality of Tallemant des Réaux. French criticism, in applauding his industry, has hardly done justice to the talent, almost the genius, of this extraordinary man. With an unrivalled gift of observation, he combined that clear objective sense of the value of little things, which is so valuable in a memoir-writer, and he is the very prince of those biographers to whom nothing regarding the subjects of their art seems common or unclean. ”

“ Faguet does not allow himself to be stung into eloquence by the touch of a master-mind, as Lemaître does, nor does he fly off from his subject on the wings of an imperative suggestion, like Anatole France, but he sticks close to the matter in hand, so close that he reaches comprehension by becoming absorbed in it. There is no writer on literature who has ever crept so completely into the skin of each old author as Faguet has done. He makes the dry bones live ”

“ But the mass of these sonnets and odes and madrigals is extraordinarily insipid and cold, the similes are forced and grotesque, and everywhere pedantry takes the place of passion. When there is beauty it is artificial and affected, it is an Alexandrine beauty, it is the colour of the dying dolphin.
Such was the poetry which occupied the taste of France at the close of the sixteenth century, and whether its form was brief and amorous, as in the sonnets of Desportes, or long-winded and hortatory, as in the sacred epics of Du Bartas, it was uniformly exaggerated, lifeless, and incorrect. ”

“ He was an indefatigable writer, and a man exactly suited to be useful to a group of literary persons, because he had experience of the world, great enthusiasm for the craft of letters, and a wide and humorous outlook on life. Chapelain, glancing back many years later, defined Desmarets as "un des esprits les plus faciles de ce temps," and that is just what he was, an inexhaustible and rapid producer of prose and verse in the spirit and fashion of the age. He was much valued by Richelieu, who forced him, against his will, to collaborate in the composition of tragedies. ”

“ The first novel actually completed at Lamb House was The Awkward Age, which was ready for the printers early in 1898. The ecstasy with which he settled down to appreciate his new surroundings is reflected in that novel, where the abode of Mr. Longdon is neither more nor less than a picture of Lamb House. It was a wonderful summer and autumn, and, as Henry James said: "The air of the place thrilled all the while with the bliss of birds, the hum of little lives unseen, and the flicker of white butterflies." ”

“ Ruskin, for instance, above all the Victorian prose-writers, shouts like the morning-star. It is the peculiar gift of all great prosaists. Take so rough an executant as Hazlitt: "Harmer Hill stooped with all its pines, to listen to a poet, as he passed!" That is the chanting faculty in prose, which all the greatest men possess; but George Eliot has no trace of it, except sometimes, faintly, in the sheer fun of her peasants' conversation. I do not question that she felt the lack herself, and that it was this which, subconsciously, led her to make a profound study of the art of verse. ”

“ It is a peculiarity of the romance of fairyland that it never introduces us to fairies. Nothing is so prosaic as a fairy, seen in the broad light of Early Victorian illustration. A little being in short skirts and sandals, standing on one toe on the tip of a rosebud, with a spangle in her sleek hair and a wand in her taper fingers—nothing is more repulsive to the Muses. But the whole secret of the great fairy poets is that they are engaged in searching for fairies without ever suffering the disenchantment of finding them. There are none, I think, in the broad pages of Spenser ”

“ It was an honour to any government, and no shame to the austerest poet, that modest public help should enable a man like Leconte de Lisle to exist without anxiety. There can hardly be said to have been any other event in this dignified and blameless career.
There is a danger—but there is also a fascination—in the instinct which leads us, when we observe literature broadly, to find relations or parallelisms between independent and diverse personalities. In the most striking examples, however, where there has been no actual influence at work, these parallelisms are apt to be very misleading. ”

“ Accordingly, some time in 1633, Boisrobert too was brought to Conrart's house, and instantly conceived a great scheme for his own honour and the glory of French literature. He clung, through every storm, to the robes of Richelieu, who had originally disliked him, but who proved in the long run powerless to resist the devotion and the entertainment which Boisrobert provided. The poet took no snub; on one occasion when Richelieu had rudely ignored him, he flung himself on his knees, crying "You let the dogs eat the crumbs which fall from your table. Am I not a dog?" ”

“ In all this, the texture of which is occasionally a little stretched when it is made to cover newspaper articles on the lighting of Paris or a show of prize pigeons, M. Clemenceau displays his eager wish to subordinate all his writing to a set of philosophical ideas. He has always held that the general impulses on which our daily existence depends reach us through the channels of thought. He is, therefore, a philosopher by determination, and he bases his own intellectual system on Pasteur and Spencer, on Darwin and J. S. Mill, on Taine and Renan. ”

“ It is impossible to overestimate the importance of this utterance of Walter Scott, who was at that very moment bringing forth the amazing series of his own novels, which were to destroy the taste of his countrymen for all such works of the imagination as Rousseau had produced. Scott is no less condemnatory of the political influence of the philosopher. Deeply blaming the French Revolution, he styles Rousseau "a primary apostle" of it. "On the silliness of Rousseau," on the subject of political equality, "it is at this time of day, thank God! useless to expatiate." ”

“ The more elaborate or complex an author was, the more actively and ingeniously Faguet penetrated his work, smoothing out the complexities, throwing light into every dark corner. But it is very proper to notice that even where he devotes himself with what seems the most absorbing care to the investigation of a particular mind, he is always essentially detached from it, always ready to quit one tenement of genius and adapt himself with alacrity to another, like a soldier-crab, whose tender extremity will fit itself to any shell-habitation. ”

“ He fought in literature exactly as he has always fought in politics, with the air of one who had no wish to conciliate his opponent, but always to browbeat him, to crush him by the weight of his argument, and then run him through the body with his irony. When we turn over the pages of his books, which suffer an inevitable loss from the fugitive nature of the themes on which they mainly expatiate, we are astounded at the ceaseless agility of the lucid, restless brain of the man. ”

“ It is a remarkable instance of the complete decline of the prestige of Rousseau in England that Byron's editor of 1899 is astonished that Byron and Shelley "should not only worship at the shrine of Rousseau, but take delight in reverently tracing the footsteps of St. Preux and Julie." He is so completely disconcerted that he can only exclaim, "But to each age its own humour!" ”

“ In what degree it was an accurate portrait has not hitherto been known. I have no hesitation in saying that the chapters which deal with this situation—and they are executed with as much delicacy as realism—form the most unhackneyed and the most exciting section of Mr. Jones's volumes. They illuminate in portions, and they leave darker than ever in other parts, the rugged surface of Butler's extraordinary character; and I regret that exigencies of space do not permit me to do justice to documents so remarkable. ”

“ Richelieu's genuine enthusiasm for scholarship and poetry is not to be questioned, but with it all he was pre-eminently an ambitious statesman. Public policy was the business of his life, literature his enchanting relaxation and entertainment. But he wished to be master in the temple of the Muses, no less than in the King's palace, and he would only protect the authorship of the day on the terms of being recognized as its absolute tyrant. ”

“ In 1862 he wrote, "I know of no man whom I more entirely resemble than Rousseau. If I were asked whom of all men of any name in past time I thought myself to be grouped with, I should answer unhesitatingly—Rousseau. I judge by the Nouvelle Héloïse, the Confessions, the writings of Politics and the life in the Ile St. Pierre." In 1866 Ruskin added, "The intense resemblance between me and Rousseau increases upon my mind more and more." ”

“ No man of letters has lived, in any country, who was more possessed than he by the necessity of watching over the purity of language, of cultivating in prose and verse a simple, lucid, and logical style, of removing from the surface of literature, by an arrogant discipline, all traces of obscurity, pomposity and looseness. ”