Childhood in literature and art, with some observations on literature for children : $b A studyScudder, Horace Elisha
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Childhood in literature and art, with some observations on literature for children : $b A study
Scudder, Horace Elisha
Children in art; Children in literature
The fullness with which Lamartine treats the recollection of his youth
partakes of the general spirit of French memoirs,—a spirit, to speak
roughly, which regards persons rather than institutions,—but indicates
also something of the new spirit which informed literature when it
elevated childhood into a place of real dignity. There are passages,
indeed, which have a special significance as intimating a consciousness
of the deeper relations of childhood. Michelet, for instance, in
his philosophy of the unfolding of woman’s life, recognizes the
characteristics of maidenhood as anticipatory of maturity, and does it
with so serious a contemplation that we forget to smile when we discover
him profoundly observant of those instincts of maternity which are shown
in the care of a child for its doll.
This attitude toward the child is observable in the masters of modern
French literature. However far they may be removed from any mere domestic
regard of the subject, they apprehend the peculiar sacredness attaching
to children. Alfred de Musset, for example, though by no means a poet of
the family, can never speak of children without emotion. Not to multiply
instances, it is enough to take the great poet of the period. Victor Hugo
deserves, it has been said, to be called the poet of infancy, not only
for the reason that he has written of the young freely, but has in his
Les Enfants, Livre des Mères, written for them. It is to be observed that
the suggestion comes, with Hugo, chiefly from the children of his family;
from his brother Eugène, who died an early death; from his daughter, whom
he mourns in tender verse; and from his grandchildren. One feels the
sincerity of a great poet when he draws the inspiration for such themes
from his own familiar kind.
It may be said in general of the contribution made to this literature by
the French that it partakes of those qualities of lightness and grace
which mark the greater literature; that the image of childhood is a
joyous, innocent one, and satisfies the eye that looks for beauty and
delicacy. Sentiment predominates, but it is a sentiment that makes little
draught upon thought. There is a disposition now to regard children as
dolls and playthings, the amusement of the hour; now to make them the
object of an attitudinizing sentiment, which is practically wasted unless
there be some one at hand to applaud it.
II
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