Mirabeau, who required that his speeches should echo throughout the departments, had given birth to this speaking trumpet of the Revolution, (despite the orders in council) in his _Letters to my Constituents_, and in the _Courrier de Provence_. At the opening of the States General, and at the taking of the Bastille, other journals had appeared. At each new insurrection there was a fresh inundation of newspapers. The leading organs of public agitation were then the _Revolution of Paris_, edited by Loustalot; a weekly paper, with a circulation of 200,000 copies; the feeling of the man may be seen in the motto of his paper: "The great appear great to us only because we are on our knees--let us rise!" The _Discours de la Lanterne aux Parisiens_, subsequently called the _Revolutions de France et de Brabant_, was the production of Camille Desmoulins. This young student, who became suddenly a political character on a chair in the garden of the Palais Royal, on the first outbreak of the month of July, 1789, preserved in his style, which was frequently very brilliant, something of his early character. It was the sarcastic genius of Voltaire descended from the saloon to the pavement. No man in himself ever personified the people better than did Camille Desmoulins. He was the mob with his turbulent and unexpected movements, his variableness, his unconnectedness, his rages interrupted by laughter, or suddenly sinking into sympathy and sorrow for the very victims he immolated. A man, at the same time so ardent and so trifling, so trivial and so inspired, so indecisive between blood and tears, so ready to crush what he had just deified with enthusiasm, must have the more empire over a people in revolt, in proportion as he resembled them. His character was his nature. He not only aped the people, he was the people himself. His newspapers cried in the public streets, and their sarcasm, bandied from mouth to mouth, has not been swept away with the other impurities of the day. He remains, and will remain, a Menippus, the satirist stained with blood. It was the popular chorus which led the people to their most important movements, and which was frequently stifled by the whistling of the cord of the street lamp, or in the hatchet-stroke of the guillotine. Camille Desmoulins was the remorseless offspring of the Revolution,--Marat was its fury; he had the clumsy tumblings of the brute in his thought, and its gnashing of teeth in his style. His journal (_L'Ami du Peuple_), the People's Friend, smelt of blood in every line. VIII.