Rodin: The Man and His Art, with Leaves from His Note-bookCladel, Judith
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Rodin: The Man and His Art, with Leaves from His Note-book
Cladel, Judith
Rodin, Auguste, 1840-1917
What demands preëminent recognition in his case is the gift, a splendid,
a dazzling gift for the plastic arts, the realization of which has been
imposed upon him, as it were, by the command of destiny. Whence did it
come? From whom did he inherit it? From what ancestor, sensitive to the
enchantment of beauty, suffering, and in travail from the necessity of
proclaiming it, but imperfectly endowed and powerless to forge for
himself a talent in order to express the tremors of his soul? It is a
mystery. No one can tell, Rodin himself least of all. Science has not
yet taught us anything about those obscure combinations, those endless
preferences of the vital force, thanks to which a person possesses the
faculties of genius. In this, as in other things, we are unable to
divine the cause and can only marvel at the effect, the prodigy.
Discredited to-day are the theories of Lombroso and his school, once
so warmly welcomed by mediocre minds athirst for equality, in which
great men were considered as degenerates of a superior variety, and the
most sensitive spirits qualified as candidates for the madhouse! All
one can say is that nature abhors equality, that the indwelling will
delights in raising up lofty mountain masses above the uniformity of
the plains and the valor of the chosen few above the multitude. The
function of the man of genius is, precisely, to possess in a supreme
degree the sense of inequality and to transcribe its infinite nuances
in their ever-changing, ever-moving, ever-renewed variety. He alone
perceives the diversities whose play is the law of the universe itself,
and he grasps them equally in a fragment of inanimate matter and in
the vastest aspects of the world. Far from being half mad, this unique
being, this prodigious mirror of a million facets, achieves his aim only
because he possesses far more intelligence than the most brilliant of
his contemporaries, because he is in touch with a more profound order
of things and a more comprehensive method, because he combines the
qualities of continuity in sensation and of discernment which constitute
that supreme sensibility of all the senses acting together--taste. But
it does not please ordinary mortals to believe things of this kind,
and one can easily understand how the crowd, repudiating any such
humiliating notion, are all too willing to follow the lead of exotic
pseudo-scientists and look upon great men as lunatics, considering
themselves far more rational.
Public-domain text, read in full here on John Shaqi.
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