Classic French Course in English
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The "Spirit of Laws" is probably to be considered the masterpiece of Montesquieu. It is our duty, however, to say, that this work is quite differently estimated by different authorities. By some, it is praised in terms of the highest admiration, as a great achievement in wide and wise political or juridical philosophy. By others, it is dismissed very lightly, as the ambitious, or, rather, pretentious, effort of a superficial man, a showy mere sciolist. It acquired great contemporary fame, both at home and abroad. It was promptly translated into English, the translator earning the merited compliment of the author's own hearty approval of his work. Horace Walpole, who was something of a Gallomaniac, makes repeated allusion to Montesquieu's "Spirit of Laws," in letters of his written at about the time of the appearance of the book. But Walpole's admiring allusions themselves contain evidence that admiration equal to his own of the work that he praised, was by no means universal in England.
The general aspect of the book is that of a composition meant to be luminously analyzed and arranged. Divisions and titles abound. There are thirty-one "books"; and each book contains, on the average, perhaps about the same number of chapters. The library edition, in English, consists of two volumes, comprising together some eight hundred open pages, in good-sized type. The books and chapters are therefore not formidably long. The look of the work is as if it were readable; and its character, on the whole, corresponds. It would hardly be French, if such were not the case. Except that Montesquieu's "Spirit of Laws" is, as we have indicated, a highly organized, even an over-organized, book, which, by emphasis, Montaigne's "Essays" is not, these two works may be said, in their contents, somewhat to resemble each other. Montesquieu is nearly as discursive as Montaigne. He wishes to be philosophical, but he is not above supplying his reader with interesting historical instances.
We shall not do better, in giving our readers a comprehensive idea of Montesquieu's "Spirit of Laws," than to begin by showing them the titles of a number of the books:—
Book I. Of Laws in General. Book II. Of Laws Directly Derived from the Nature of Government. Book III. Of the Principles of the Three Kinds of Government. Book IV. That the Laws of Education ought to be Relative to the Principles of Government. Book V. That the Laws given by the Legislator ought to be Relative to the Principle of Government. Book VI. Consequences of the Principles of Different Governments with Respect to the Simplicity of Civil and Criminal Laws, the Form of Judgments, and the Inflicting of Punishments. Book VII. Consequences of the Different Principles of the Three Governments with Respect to Sumptuary Laws, Luxury, and the Condition of Women. Book VIII. Of the Corruption of the Principles of the Three Governments. Book XIV. Of Laws as Relative to the Nature of the Climate.
The philosophical aim and ambition of the author at once appear in the inquiry which he institutes for the three several animating principles of the three several forms of government respectively distinguished by him; namely, democracy (or republicanism), monarchy, and despotism. What these three principles are, will be seen from the following statement: "As virtue is necessary in a republic, and in monarchy, honor, so fear is necessary in a despotic government." The meaning is, that in republics, virtue possessed by the citizens is the spring of national prosperity; that under a monarchy, the desire of preferment at the hands of the sovereign is what quickens men to perform services to the state; that despotism thrives by fear inspired in the breasts of those subject to its sway.
To illustrate the freely discursive character of the work, we give the whole of chapter sixteen—there are chapters still shorter—in Book VII.:—
AN EXCELLENT CUSTOM OF THE SAMNITESThe Samnites had a custom which in so small a republic, and especially in their situation, must have been productive of admirable effects. The young people were all convened in one place, and their conduct was examined. He that was declared the best of the whole assembly, had leave given him to take which girl he pleased for his wife; the second best chose after him, and so on. Admirable institution! The only recommendation that young men could have on this occasion, was their virtue, and the service done their country. He who had the greatest share of these endowments, chose which girl he liked out of the whole nation. Love, beauty, chastity, virtue, birth, and even wealth itself, were all, in some measure, the dowry of virtue. A nobler and grander recompense, less chargeable to a petty state, and more capable of influencing both sexes, could scarce be imagined.
The Samnites were descended from the Lacedæmonians; and Plato, whose institutes are only an improvement of those of Lycurgus, enacted nearly the same law.
The relation of the foregoing chapter to the subject indicated in the title of the book, is sufficiently obscure and remote, for a work like this purporting to be philosophical. What relation exists, seems to be found in the fact that the Samnite custom described tends to produce that popular virtue by which republics flourish. But the information, at all events, is curious and interesting.
The following paragraphs, taken from the second chapter of Book XIV., contain in germ nearly the whole of the philosophy underlying M. Taine's essays on the history of literature:—
OF THE DIFFERENCE OF MEN IN DIFFERENT CLIMATESA cold air constringes the extremities of the external fibres of the body; this increases their elasticity, and favors the return of the blood from the extreme parts to the heart. It contracts those very fibres; consequently it increases also their force. On the contrary, a warm air relaxes and lengthens the extremes of the fibres; of course it diminishes their force and elasticity.
People are therefore more vigorous in cold climates. Here the action of the heart and the reaction of the extremities of the fibres are better performed, the temperature of the humors is greater, the blood moves freer towards the heart, and reciprocally the heart has more power. This superiority of strength must produce various effects; for instance, a greater boldness,—that is, more courage; a greater sense of superiority,—that is, less desire of revenge; a greater opinion of security,—that is, more frankness, less suspicion, policy and cunning. In short, this must be productive of very different tempers. Put a man into a close, warm place, and, for the reasons above given, he will feel a great faintness. If under this circumstance you propose a bold enterprise to him, I believe you will find him very little disposed towards it; his present weakness will throw him into a despondency; he will be afraid of every thing, being in a state of total incapacity. The inhabitants of warm countries are, like old men, timorous; the people in cold countries are, like young men, brave.
In the following extract, from chapter five, Book XXIV., the climatic theory is again applied, this time to the matter of religion, in a style that makes one think of Buckle's "History of Civilization:"—
When the Christian religion, two centuries ago, became unhappily divided into Catholic and Protestant, the people of the north embraced the Protestant, and those south adhered still to the Catholic.
The reason is plain: the people of the north have, and will forever have, a spirit of liberty and independence, which the people of the south have not; and therefore, a religion which has no visible head, is more agreeable to the independency of the climate, than that which has one.
Climate is a "great matter" with Montesquieu. In treating of the subject of a state changing its religion, he says:—
The ancient religion is connected with the constitution of the kingdom, and the new one is not; the former agrees with the climate, and very often the new one is opposite to it.
For the Christian religion, Montesquieu professes profound respect,—rather as a pagan political philosopher might do, than as one intimately acquainted with it by a personal experience of his own. His spirit, however, is humane and liberal. It is the spirit of Montaigne, it is the spirit of Voltaire, speaking in the idiom of this different man, and of this different man as influenced by his different circumstances. Montesquieu had had practical proof of the importance to himself of not offending the dominant hierarchy.
The latter part of "The Spirit of Laws" contains discussions exhibiting no little research on the part of the author. There is, for one example, a discussion of the course of commerce in different ages of the world, and of the influences that have wrought from time to time to bring about the changes occurring. For another example, there is a discussion of the feudal system.
Montesquieu was an admirer of the English constitution. His work, perhaps, contains no extended chapters more likely to instruct the general reader and to furnish a good idea of the writer's genius and method, than the two chapters—chapter six, Book XI., and chapter twenty-seven, Book XIX.—in which the English nation and the English form of government are sympathetically described. We simply indicate, for we have no room to exhibit, these chapters. Voltaire, too, expressed Montesquieu's admiration of English liberty and English law.
On the whole, concerning Montesquieu it may justly be said, that of all political philosophers, he, if not the profoundest, is at least one of the most interesting; if not the most accurate and critical, at least one of the most brilliant and suggestive.
As to Montesquieu the man, it is perhaps sufficient to say that he seems to have been a very good type of the French gentleman of quality. An interesting story told by Sainte-Beuve reveals, if true, a side at once attractive and repellent of his personal character. Montesquieu at Marseilles employed a young boatman, whose manner and speech indicated more cultivation than was to have been looked for in one plying his vocation. The philosopher learned his history. The youth's father was at the time a captive in one of the Barbary States, and this son of his was now working to earn money for his ransom. The stranger listened apparently unmoved, and went his way. Some months later, home came the father, released he knew not how, to his surprised and overjoyed family. The son guessed the secret, and, meeting Montesquieu a year or so after in Marseilles, threw himself in grateful tears at his feet, begged the generous benefactor to reveal his name and to come and see the family he had blessed. Montesquieu, calmly expressing himself ignorant of the whole business, actually shook the young fellow off, and turned away without betraying the least emotion. It was not till after the cold-blooded philanthropist's death that the fact came out.
A tranquil, happy temperament was Montesquieu's. He would seem to have come as near as any one ever did to being the natural master of his part in life. But the world was too much for him, as it is for all—at last. Witness the contrast of these two different sets of expressions from his pen. In earlier manhood he says:—
Study has been for me the sovereign remedy for all the dissatisfactions of life, having never had a sense of chagrin that an hour's reading would not dissipate. I wake in the morning with a secret joy to behold the light. I behold the light with a kind of ravishment, and all the rest of the day I am happy.
Within a few years of his death, the brave, cheerful tone had declined to this:—
I am broken down with fatigue; I must repose for the rest of my life.
Then further to this:—
I have expected to kill myself for the last three months, finishing an addition to my work on the origin and changes of the French civil law. It will take only three hours to read it; but, I assure you, it has been such a labor to me, that my hair has turned white under it all.
Finally it touches nadir:—
It [his work] has almost cost me my life; I must rest; I can work no more.
My candles are all burned out; I have set off all my cartridges.
When Montesquieu died, only Diderot, among Parisian men of letters, followed him to his tomb.
XV.
VOLTAIRE.
1694-1778
By the volume and the variety, joined to the unfailing brilliancy, of his production; by his prodigious effectiveness; and by his universal fame,—Voltaire is undoubtedly entitled to rank first, with no fellow, among the eighteenth-century literary men, not merely of France, but of the world. He was not a great man,—he produced no single great work,—but he must nevertheless be pronounced a great writer. There is hardly any species of composition to which, in the long course of his activity, he did not turn his talent. It cannot be said that he succeeded splendidly in all; but in some he succeeded splendidly, and he failed abjectly in none. There is not a great thought, and there is not a flat expression, in the whole bulk of his multitudinous and multifarious works. Read him wherever you will, in the ninety-seven volumes (equivalent, probably, in the aggregate, to three hundred volumes like the present) which, in one leading edition, collect his productions,—you may often find him superficial, you may often find him untrustworthy, you will certainly often find him flippant, but not less certainly you will never find him obscure, and you will never find him dull. The clearness, the vivacity, of this man's mind were something almost preternatural. So, too, were his readiness, his versatility, his audacity. He had no distrust of himself, no awe of his fellow-men, no reverence for God, to deter him from any attempt with his pen, however presuming. If a state ode were required, it should be ready to order at twelve to-morrow; if an epic poem—to be classed with the "Iliad" and the "Æneid"—the "Henriade" was promptly forthcoming, to answer the demand. He did not shrink from flouting a national idol, by freely finding fault with Corneille; and he lightly undertook to extinguish a venerable form of Christianity, simply with pricks, innumerably repeated, of his tormenting pen.
A very large part of the volume of Voltaire's production consists of letters, written by him to correspondents perhaps more numerous, and more various in rank, from kings on the throne down to scribblers in the garret, than ever, in any other case, exchanged such communications with a literary man. Another considerable proportion of his work in literature took the form of pamphlets, either anonymously or pseudonymously published, in which this master-spirit of intellectual disturbance and ferment found it convenient, or advantageous, or safe, to promulge and propagate his ideas. A shower of such publications was incessantly escaping from Voltaire's pen. More formal and regular, more confessedly ambitious, literary essays of his, were poems in every kind,—heroic, mock-heroic, lyric, elegiac, comic, tragic, satiric,—historical and biographical monographs, and tales or novels of a peculiar class.
Voltaire's poetry does not count for very much now. Still, its first success was so great that it will always remain an important topic in literary history. Besides this, it really is, in some of its kinds, remarkable work. Voltaire's epic verse is almost an exception, needful to be made, from our assertion that this author is nowhere dull. "The Henriade" comes dangerously near that mark. It is a tasteless reproduction of Lucan's faults, with little reproduction of Lucan's virtues. Voltaire's comedies are bright and witty, but they are not laughter-provoking; and they do not possess the elemental and creative character of Shakspeare's or Molière's work. His tragedies are better; but they do not avoid that cast of mechanical which seems necessarily to belong to poetry produced by talent, however consummate, unaccompanied with genius. Voltaire's histories are luminous and readable narratives, but they cannot claim either the merit of critical accuracy or of philosophic breadth and insight. His letters would have to be read in considerable volume in order to furnish a full satisfactory idea of the author. His tales, finally, afford the most available, and, on the whole, likewise, the best, means of coming shortly and easily at a knowledge of Voltaire.
Among Voltaire's tales, doubtless the one most eligible for use, to serve our present purpose, is his "Candide." This is a nondescript piece of fiction, the design of which is, by means of a narrative of travel and adventure, constructed without much regard to the probability of particular incidents, to set forth, in the characteristic mocking vein of Voltaire, the vanity and misery of mankind. The author's invention is often whimsical enough; but it is constantly so ready, so reckless, and so abundant, that the reader never tires, as he is hurried ceaselessly forward from change to change of scene and circumstance. The play of wit is incessant. The style is limpidity itself. Your sympathies are never painfully engaged, even in recitals of experience that ought to be the most heart-rending. There is never a touch of noble moral sentiment, to relieve the monotony of mockery that lightly laughs at you, and tantalizes you, page after page, from the beginning to the end of the book. The banter is not good-natured; though, on the other hand, it cannot justly be pronounced ill-natured; and it is, in final effect upon the reader's mind, bewildering and depressing in the extreme. Vanity of vanities, all is vanity,—such is the comfortless doctrine of the book. The apples are the apples of Sodom, everywhere in the world. There is no virtue anywhere, no good, no happiness. Life is a cheat, the love of life is a cruelty, and beyond life there is nothing. At least, there is no glimpse given of any compensating future reserved for men, a future to redress the balance of good and ill experienced here and now. Faith and hope, those two eyes of the soul, are smilingly quenched in their sockets; and you are left blind, in a whirling world of darkness, with a whirling world of darkness before you.
Such is "Candide." We select a single passage for specimen. The passage we select is more nearly free than almost any other passage as long, in this extraordinary romance, would probably be found, from impure implications. It is, besides, more nearly serious in apparent motive, than is the general tenor of the production. Here, however, as elsewhere, the writer keeps carefully down his mocking-mask. At least, you are left tantalizingly uncertain all the time how much the grin you face is the grin of the man, and how much the grin of a visor that he wears.
Candide, the hero, is a young fellow of ingenuous character, brought successively under the lead of several different persons wise in the ways of the world, who act toward him, each in his turn, the part of "guide, philosopher, and friend." Candide, with such a mentor bearing the name Martin, has now arrived at Venice. Candide speaks:—
"I have heard great talk of the Senator Pococuranté, who lives in that fine house at the Brenta, where they say he entertains foreigners in the most polite manner. They pretend this man is a perfect stranger to uneasiness."—"I should be glad to see so extraordinary a being," said Martin. Candide thereupon sent a messenger to Signor Pococuranté, desiring permission to wait on him the next day.
Candide and his friend Martin went into a gondola on the Brenta, and arrived at the palace of the noble Pococuranté: the gardens were laid out in elegant taste, and adorned with fine marble statues; his palace was built after the most approved rules of architecture. The master of the house, who was a man of sixty, and very rich, received our two travellers with great politeness, but without much ceremony, which somewhat disconcerted Candide, but was not at all displeasing to Martin.
As soon as they were seated, two very pretty girls, neatly dressed, brought in chocolate, which was extremely well frothed. Candide could not help making encomiums upon their beauty and graceful carriage. "The creatures are well enough," said the senator. "I make them my companions, for I am heartily tired of the ladies of the town, their coquetry, their jealousy, their quarrels, their humors, their meannesses, their pride, and their folly. I am weary of making sonnets, or of paying for sonnets to be made, on them; but, after all, these two girls begin to grow very indifferent to me."
After having refreshed himself, Candide walked into a large gallery, where he was struck with the sight of a fine collection of paintings. "Pray," said Candide, "by what master are the two first of these?"—"They are Raphael's," answered the senator. "I gave a great deal of money for them seven years ago, purely out of curiosity, as they were said to be the finest pieces in Italy: but I cannot say they please me; the coloring is dark and heavy; the figures do not swell nor come out enough; and the drapery is very bad. In short, notwithstanding the encomiums lavished upon them, they are not, in my opinion, a true representation of nature. I approve of no paintings but where I think I behold Nature herself; and there are very few, if any, of that kind to be met with. I have what is called a fine collection, but I take no manner of delight in them."
While dinner was getting ready, Pococuranté ordered a concert. Candide praised the music to the skies. "This noise," said the noble Venetian, "may amuse one for a little time; but if it was to last above half an hour, it would grow tiresome to everybody, though perhaps no one would care to own it. Music is become the art of executing what is difficult; now, whatever is difficult cannot be long pleasing.
"I believe I might take more pleasure in an opera, if they had not made such a monster of that species of dramatic entertainment as perfectly shocks me; and I am amazed how people can bear to see wretched tragedies set to music, where the scenes are contrived for no other purpose than to lug in, as it were by the ears, three or four ridiculous songs, to give a favorite actress an opportunity of exhibiting her pipe. Let who will or can die away in raptures at the trills of a eunuch quavering the majestic part of Cæsar or Cato, and strutting in a foolish manner upon the stage. For my part, I have long ago renounced these paltry entertainments, which constitute the glory of modern Italy, and are so dearly purchased by crowned heads." Candide opposed these sentiments, but he did it in a discreet manner. As for Martin, he was entirely of the old senator's opinion.
Dinner being served up, they sat down to table, and after a very hearty repast, returned to the library. Candide, observing Homer richly bound, commended the noble Venetian's taste. "This," said he, "is a book that was once the delight of the great Pangloss, the best philosopher in Germany."—"Homer is no favorite of mine," answered Pococuranté very coolly. "I was made to believe once that I took a pleasure in reading him; but his continual repetitions of battles must have all such a resemblance with each other; his gods that are forever in a hurry and bustle, without ever doing any thing; his Helen, that is the cause of the war, and yet hardly acts in the whole performance; his Troy, that holds out so long without being taken; in short, all these things together make the poem very insipid to me. I have asked some learned men whether they are not in reality as much tired as myself with reading this poet. Those who spoke ingenuously assured me that he had made them fall asleep, and yet that they could not well avoid giving him a place in their libraries; but that it was merely as they would do an antique, or those rusty medals which are kept only for curiosity, and are of no manner of use in commerce."
"But your excellency does not surely form the same opinion of Virgil?" said Candide. "Why, I grant," replied Pococuranté, "that the second, third, fourth, and sixth books of his 'Æneid' are excellent; but as for his pious Æneas, his strong Cloanthus, his friendly Achates, his boy Ascanius, his silly King Latinus, his ill-bred Amata, his insipid Lavinia, and some other characters much in the same strain, I think there cannot in nature be any thing more flat and disagreeable. I must confess I prefer Tasso far beyond him; nay, even that sleepy tale-teller Ariosto."
"May I take the liberty to ask if you do not receive great pleasure from reading Horace?" said Candide. "There are maxims in this writer," replied Pococuranté, "from whence a man of the world may reap some benefit; and the short measure of the verse makes them more easily to be retained in the memory. But I see nothing extraordinary in his journey to Brundusium, and his account of his bad dinner; nor in his dirty, low quarrel between one Rupilius, whose words, as he expresses it, were full of poisonous filth; and another, whose language was dipped in vinegar. His indelicate verses against old women and witches have frequently given me great offence; nor can I discover the great merit of his telling his friend Mæcenas, that, if he will but rank him in the class of lyric poets, his lofty head shall touch the stars. Ignorant readers are apt to advance every thing by the lump in a writer of reputation. For my part, I read only to please myself. I like nothing but what makes for my purpose." Candide, who had been brought up with a notion of never making use of his own judgment, was astonished at what he heard; but Martin found there was a good deal of reason in the senator's remarks.