[15] _Recueil de quelques pièces nouvelles et galantes, tant en prose qu'en vers_. Cologne, 1667. [16] Paris, published by Jacques Dugast, aux Gants Couronnez, 1632. SUCCESS AND THE IDEA OF BEAUTY I In one of his _Paradoxes_, where he at times has a touch of Heine's irony or of Schopenhauer's wit, Max Nordau has sketched the Machiavellian plan of a school of success. The reverse of the usual morality would be taught there, and not virtue, but the art of arriving. This school already exists. It is life. Precocious eyes and ears take in its teachings from adolescence. There are young men who consecrate themselves to success, like others to the priesthood or to glory. Are they unreasonable? No. And contemptible? Why? Writing, singing, sculpturing are acts. Thinking, even in the silence of the night and in the depth of a dungeon, is an act. But what act is there that has not for its end its own accomplishment? The reasoner who has convinced himself will necessarily wish to persuade others; and the poet who admires himself, to force others to share his enthusiasm. Those who are contented with an intimate or restricted approbation are perhaps wise, but they will not be numbered among the strong. Though timid, though disdainful, the dreamer wishes the glory of dreaming, and he would dream with delight before throngs rapturously contemplating his eyes lost in an ocean of dreams and of nonsense. That would be success. Success has something precise which soothes and nourishes. It is a repast. It is a fact. It is the final goal. Success is a fact in itself, and quite aside from the word or the act which it accompanies. The assassin who has accomplished his crime, step by step, experiences other joys than that of slaked avidity. He finds, in short, that success has declared for him; and, all pursuit thrown off his track, we understand very well the state of mind that Barbey d'Aurevilly has dared to describe. Yet crime, unless of a political order, is seldom publicly applauded in our civilizations, as among the Dyaks of Borneo, or the subjects of the Old Man of the Mountain. That is why, in spite of the celebrated irony, we shall not consider assassination "as one of the fine arts." It should at least be classed among the arts whose success is their one and only end, and which attach much less importance to their initial designation than to what they are called at the end. But that is not the subject of this essay, which is very serious, and whose words will all be carefully weighed. It will deal exclusively with works of art and, in particular, with literary works.