Eminent Authors of the Nineteenth Century: Literary PortraitsBrandes, Georg
History
Eminent Authors of the Nineteenth Century: Literary Portraits
Brandes, Georg
Literature, Modern -- 19th century -- History and criticism
This view, which is reflected in all the works of Stuart Mill, is, in
my judgment, a one-sidedness which can easily be accounted for by his
ignorance of the German language and literature, and his undervaluation
of the English situation, in which he, as a matter of course, was well
able to detect the evils. He had visited France when he was very young;
he told me he had passed his fifteenth year there, and had during that
time learned all the French now at his command. As the French language
was the only foreign tongue he spoke fluently and frequently (even
though not without a strong English accent), and as through his whole
life he had exerted himself to introduce French ideas into England,
and to impart to his countrymen a love for the French national spirit,
France necessarily represented to him Europe almost as though he were a
native-born Frenchman.
Among all the Frenchmen whom Mill knew, Armand Carrel was, I believe,
the one whom he held in the highest esteem. The essay he has written
about this young French journalist is perhaps the most beautiful and
the most overflowing with sentiment of anything he has written. In
his great admiration for Armand Carrel, I find a partial explanation
of his vehement antipathy to Sainte-Beuve. He could never forgive
Sainte-Beuve for the fact that he, who had once been a collaborator
of the "National," and a friend of Carrel, had become friendly to
the Empire, and allowed himself to be elected senator. And yet this
isolated fact was scarcely sufficient to warrant the hard words Mill
dropped concerning Sainte-Beuve in my presence. Sainte-Beuve was
distasteful to him for the same reason that Carrel so greatly pleased
him. He had not thoroughly studied him; his "Port Royal," for instance,
he had never read; but a mind with such keenness and such firmly
rooted principles as Mill's, was naturally repelled by the pliant and
undulating temperament of Sainte-Beuve. Stuart Mill was a man of almost
metallic character, rigid, angular, and immovable; the spirit of
Sainte-Beuve, on the contrary, was like a lake, broad, tender, elastic,
and of great circumference, yet moving altogether in little ripples
of an undefined and varying size. Therefore Stuart Mill was, as it
were, created to be an authority; his tone was that of one accustomed
to command, and even when his demeanor was the boldest, he seemed,
through the very conciseness and confidence with which he substantiated
his results, to repulse every contradiction. Sainte-Beuve, on the
contrary, never closed a subject entirely and without reservation;
he was never quite catholic, nor quite romantic, nor quite imperial,
nor quite a naturalist; one thing alone he was absolutely and
entirely--Sainte-Beuve, in other words, the critic with feminine
sympathy and ever-lurking scepticism. He was of the tiger race, yet
was no tiger. He attached himself thoroughly to no one and to nothing,
but he rubbed against everything, and the inevitable friction produced
sparks.
Public-domain text, read in full here on John Shaqi.
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