Robespierre had now risen to be one of the foremost men in France. To borrow the figure of an older chief of French faction, from trifling among the violins in the orchestra, he had ascended to the stage itself, and had a right to perform leading parts. Disqualified for sitting in the Assembly, he wielded greater power than ever in the Club. The Constituent had been full of his enemies. 'Alone with my own soul,' he once cried to the Jacobins, 'how could I have borne struggles that were beyond any human strength, if I had not raised my spirit to God?' This isolation marked him with a kind of theocratic distinction. These communings with the unseen powers gave a certain indefinable prerogative to a man, even among the children of the century of Voltaire. Condorcet, the youngest of the intimates and disciples of Voltaire, of D'Alembert, of Turgot, was the first to sound bitter warning that Robespierre was at heart a priest. The suggestion was more than a gibe. Robespierre had the typic sacerdotal temperament, its sense of personal importance, its thin unction, its private leanings to the stake and the cord; and he had one of those deplorable natures that seem as if they had never in their lives known the careless joys of a springtime. By and by, from mere priest he developed into the deadlier carnivore, the Inquisitor. The absence of advantages of bodily presence has never been fatal to the pretensions of the pontiff. Robespierre was only a couple of inches above five feet in height, but the Grand Monarch himself was hardly more. His eyes were small and weak, and he usually wore spectacles; his face was pitted by the marks of small-pox; his complexion was dull and sometimes livid; the tones of his voice were dry and shrill; and he spoke with the vulgar accent of his province. Such is the accepted tradition, and there is no reason to dissent from it. It is fair, however, to remember that Robespierre's enemies had command of his historic reputation at its source, and this is always a great advantage for faction, if not for truth. So Robespierre's voice and person may have been maligned, just as Aristophanes may have been a calumniator when he accused Cleon of having an intolerably loud voice and smelling of the tanyard. What is certain is that Robespierre was a master of effective oratory adapted for a violent popular audience, to impress, to persuade, and to command. The Convention would have yawned, if it had not trembled under him, but the Jacobin Club never found him tedious. Robespierre's style had no richness either of feeling or of phrase; no fervid originality, no happy violences. If we turn from a page of Rousseau to a page of Robespierre, we feel that the disciple has none of the thrilling sonorousness of the master; the glow and the ardour have become metallic; the long-drawn plangency is parodied by shrill notes of splenetic complaint. The rhythm has no broad wings; the phrases have no