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
There is much contempt in this for the theologians, with their
pretensions to knowledge, and much acrimony beneath the gratitude to
"the lord of the prison." He adds in the same tone: "How good God is,
what an adorable jailer, to sow so many flowers in our prison yard!...
How explain this wonderful, consoling pity, which makes our punishment
so mild? For no one has ever doubted that we are punished--we only do
not know for what."
Six years later, employing the same parable, he writes: "I feel myself
bowed down, O Lord, by the weight of a punishment which causes me
constant suffering; but as I neither know my crime nor the accusation
brought against me, I reconcile myself to my prison. _I plait straw_ in
order sometimes to forget it. For this is what human work amounts to. I
am prepared for all possible evils, and I thank Thee, O Lord, for every
day which has passed without any calamity!"
But two years after this he speaks out plainly: "The world revolts at
the injustices entailed by its creation; dread of eternity prevents it
from speaking openly; but its heart is full of hatred of the God who
created evil and death. When a defier of the gods, like Ajax the son of
Oileus, appears, the world approves him and loves him. Such another is
Satan, such Orestes, such Don Juan. All who have combated the injustice
of heaven have been admired and secretly loved by men."
De Vigny's diary shows that down to the very last days of the
hereditary monarchy the connection between the literary, merely
theoretical principle of authority and the practical, working principle
was perfectly well understood. Germinating Romanticism was not less
ardently opposed by the political opposition (who saw in the young
school a support of ecclesiasticism) than by the men who from principle
adhered to old tradition. De Vigny tells that he asked Benjamin
Constant during the winter of 1819 what was the cause of the extreme
disfavour shown by the Left to the poetry of the day. The answer was
that the party _wished to avoid the appearance of breaking every
chain_, and therefore retained the least irksome, the literary.
When the Revolution of July came, and put an end to the reign of the
Bourbons, Vigny's attachment to the ideas of the restoration came to
an end too. He writes: "I feel happy that I have left the army; after
thirteen years of ill-rewarded service I may regard myself as quits
with the Bourbons.... I have done for ever with burdensome political
superstition."
Lamartine, too, at this time showed signs of an intellectual
development of a suspicious nature. He continued to sing his pious
hymns, but the orthodox Genevan pastor, Vinet, discovered that this
piety was Christianity only in appearance, and that a most unorthodox
pantheism lay concealed beneath the Christian phraseology.[6]
Public-domain text, read in full here on John Shaqi.
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