Main Currents in Nineteenth Century Literature - 3. The Reaction in FranceBrandes, Georg
History
Main Currents in Nineteenth Century Literature - 3. The Reaction in France
Brandes, Georg
Literature, Modern -- 19th century -- History and criticism; Naturalism in literature; Romanticism
This national mood explains how it was possible for such poetry as
Lamartine's _Les Méditations_ to become the favourite literature of
the day. No book since Chateaubriand's _Génie du Christianisme_ had
made such a sensation as did the First Part of this work; 45,000 copies
of it were sold in four years. Strange as it may seem to us now, the
Restoration period found in Lamartine's poetry an interpretation of its
feelings and of all that moved its inmost heart--a picture of its ideal
longings, painted in the clearest, loveliest dream-colours. It was
poetry that resembled the music of an Æolian harp, but the wind that
played upon the strings was the spirit of the age. The poems were not
so much songs as reflections, not so much heart as spirit harmonies;
but in real life there had for long been enough, and more than enough,
of the positive--definite forms, decided characters, solid substance,
silent acceptance of the strokes of fate. It was by no means considered
a fault that there was no strong passion in the poems, no tendency to
see the dark and dreadful sides of life, or, in fact, life as it is.
There had been enough of all this in reality. After a period during
which so many instincts had been forcibly suppressed, men rejoiced in
this purely poetic instinct, in this most melodious poet, who had, as
he himself said, a chord for every feeling and mood. They longed for
just such lyric restfulness after philosophy, revolution, and wars
without end. The poem _Le Lac_ was read with delight by the whole
French-speaking world, just because it was so long since men had felt
in sympathy with nature, so long since they had looked at the face
of the earth from any point of view but the tactical one. It was not
only, however, as the poet of feeling that Lamartine represented the
spirit of the day; he also represented it in his character of orthodox
Christian. The leading note in his poetry was the note of Christian
royalism, and devotion to the Bourbon family in particular.
To us, who are acquainted with a Lamartine in whom the Revolution of
1848 seemed to find its incarnation, a Lamartine who was universally
regarded as a prophet of humanism, it is of interest to examine the
poet's spiritual starting-point.
[Illustration: LAMARTINE]
Public-domain text, read in full here on John Shaqi.
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