Classic French Course in English Part 24

In the second place, it was with great regret that we yielded to the necessity of omitting entirely, or dismissing with scant mention, such literary names, for example, as Boileau, of the age of Louis Quatorze, and, a little later than he, Fontenelle, spanning with his century of years the s.p.a.ce from 1657 to 1757,--these, and, belonging to the period that ushered in the Revolution, Bernardin St. Pierre, the teller of the tale of "Paul and Virginia," with also that hero of a hundred romantic adventures, Beaumarchais, half Themistocles, half Alcibiades, the author of "The Barber of Seville." The line had to be drawn somewhere; and, whether wisely or not, at least thoughtfully, we drew it to run as it does.

A third, and a yet graver, occasion of regret was that we must stop short on the threshold, without crossing it, of the nineteenth-century literature of France. With so many shining names seen just ahead of us, beacon-like, to invite our advance, we felt it as a real self-denial to stay our steps at that point. We hope still to deal with Chateaubriand, Madame de Stael, Lamartine, Alfred de Musset, Sainte-Beuve, Victor Hugo, and perhaps others, in a future volume.

Our eye is caught with the ant.i.thetical terms, "cla.s.sicism" and "romanticism," occurring here and there; and the observation is forced upon us, that these terms, in their mutual relation, are nowhere by us defined. The truth is, they scarcely, as thus used, admit of hard and fast definition. It is in a somewhat loose conventional sense of each term, that, in late literary language, they are set off, one over against the other. They name two different, but by no means necessarily antagonistic, forces or tendencies in literature. Cla.s.sicism stands for what you might call the established order, against which romanticism is a revolt. Paradoxical though it be to say so, both the established order, and the revolt against it, are good things. The established order, which was never really any thing more or less than the dominance in literature of rules and standards derived through criticism from the acknowledged best models, especially the ancient, tended at last to cramp and stifle the life which it should, of course, only serve to shape and conform. The mould, always too narrow perhaps, but at any rate grown too rigid, needed itself to be fashioned anew. Fresh life, a full measure, would do this. Such is the true mission of romanticism,--not to break the mould that cla.s.sicism sought to impose on literary production, but to expand that mould, make it more pliant, more free. A mould, for things living and growing, should be plastic in the pa.s.sive, as well as in the active, sense of that word,--should accept form, as well as give form. Romanticism will accordingly have won its legitimate victory, not when it shall have destroyed cla.s.sicism and replaced it, but when it shall have made cla.s.sicism over, after the law of a larger life. To risk a concrete ill.u.s.tration--among our American poets, Bryant, in the perfectly self-consistent unity of his whole intellectual development, may be said to represent cla.s.sicism; while in Lowell, as Lowell appears in the later, more protracted, phase of his genius, romanticism is represented. The "Thanatopsis" of Bryant and the "Cathedral" of Lowell may stand for individual examples respectively of the cla.s.sic and the romantic styles in poetry. Compare these two productions, and in the difference between the chaste, well-pruned severity of the one, and the indulged, perhaps stimulated, luxuriance of the other, you will feel the difference between cla.s.sicism and romanticism. But Victor Hugo is the great recent romanticist; and when, hereafter, we come to speak somewhat at large of him, it will be seasonable to enter more fully into the question of these two tendencies in literature.

We cannot consent to have said here our very last word, without emphasizing once again our sense of the really extraordinary pervasiveness in French literature of that element in it which one does not like to name, even to condemn it,--we mean its impurity. The influence of French literary models, very strong among us just now, must not be permitted insensibly to pervert our own cleaner and sweeter national habit and taste in this matter. But we, all of us together, need to be both vigilant and firm; for the beginnings of corruption here are very insidious. Let us never grow ashamed of our saving Saxon shamefacedness. They may nickname it prudery, if they will; but let us, American and English, for our part, always take pride in such prudery.