No More Learning

. They
never keep their beds but to die. " The whole chapter is fine,
pathetic, to the point, evincing noble, stoical elevation of mind,
and also the cheerful and affable disposition which Montaigne said,
with truth, was his by inheritance, and in which he had been
nourished. There could be nothing better as regards "consolation in
public calamities," except a chapter of some not more human, but of
some truly divine book, in which the hand of God should be
everywhere visible, not perfunctorily, as with Montaigne, but
actually and lovingly present. In fact, the consolation Montaigne
gives himself and others is perhaps as lofty and beautiful as human
consolation without prayer can be.

He wrote the chapter, the twelfth of the third book, in the midst of
the evils described, and before they were ended. He concluded it in
his graceful and poetical way with a collection of examples, "a heap
of foreign flowers," to which he furnished only the thread for
fastening them together.

There is Montaigne to the life; no matter how seriously he spoke, it
was always with the utmost charm. To form an opinion on his style
you have only to open him indifferently at any page and listen to
his talk on any subject; there is none that he did not enliven and
make suggestive. In the chapter "Of Liars," for instance, after
enlarging on his lack of memory and giving a list of reasons by
which he might console himself, he suddenly added this fresh and
delightful reason, that, thanks to his faculty for forgetting, "the
places I revisit, and the books I read over again, always smile upon
me with a fresh novelty. " It is thus that on every subject he
touched he was continually new, and created sources of freshness.

Montesquieu, in a memorable exclamation, said: "The four great
poets, Plato, Malebranche, Shaftesbury, Montaigne! " How true it is
of Montaigne! No French writer, including the poets proper, had so
lofty an idea of poetry as he had. "From my earliest childhood," he
said, "poetry had power over me to transport and transpierce me. " He
considered, and therein shows penetration, that "we have more poets
than judges and interpreters of poetry. It is easier to write than
to understand. " In itself and its pure beauty his poetry defies
definition; whoever desired to recognise it at a glance and discern
of what it actually consisted would see no more than "the brilliance
of a flash of lightning. " In the constitution and continuity of his
style, Montaigne is a writer very rich in animated, bold similes,
naturally fertile in metaphors that are never detached from the
thought, but that seize it in its very centre, in its interior, that
join and bind it. In that respect, fully obeying his own genius, he
has gone beyond and some times exceeded the genius of language. His
concise, vigorous and always forcible style, by its poignancy,
emphasises and repeats the meaning. It may be said of his style that
it is a continual epigram, or an ever-renewed metaphor, a style that
has only been successfully employed by the French once, by Montaigne
himself. If we wanted to imitate him, supposing we had the power and
were naturally fitted for it--if we desired to write with his
severity, exact proportion, and diverse continuity of figures and
turns--it would be necessary to force our language to be more
powerful, and poetically more complete, than is usually our custom.
Style a la Montaigne, consistent, varied in the series and
assortment of the metaphors, exacts the creation of a portion of the
tissue itself to hold them. It is absolutely necessary that in
places the woof should be enlarged and extended, in order to weave
into it the metaphor; but in defining him I come almost to write
like him. The French language, French prose, which in fact always
savours more or less of conversation, does not, naturally, possess
the resources and the extent of canvas necessary for a continued
picture: by the side of an animated metaphor it will often exhibit a
sudden lacuna and some weak places. In filling this by boldness and
invention as Montaigne did, in creating, in imagining the expression
and locution that is wanting, our prose should appear equally
finished. Style a la Montaigne would, in many respects, be openly at
war with that of Voltaire. It could only come into being and
flourish in the full freedom of the sixteenth century, in a frank,
ingenious, jovial, keen, brave, and refined mind, of an unique
stamp, that even for that time, seemed free and somewhat licentious,
and that was inspired and emboldened, but not intoxicated by the
pure and direct spirit of ancient sources.

Such as he is, Montaigne is the French Horace; he is Horatian in the
groundwork, often in the form and expression, although in that he
sometimes approaches Seneca. His book is a treasure-house of moral
observations and of experience; at whatever page it is opened, and
in what ever condition of mind, some wise thought expressed in a
striking and enduring fashion is certain to be found. It will at
once detach itself and engrave itself on the mind, a beautiful
meaning in full and forcible words, in one vigorous line, familiar
or great. The whole of his book, said Etienne Pasquier, is a real
seminary of beautiful and remarkable sentences, and they come in so
much the better that they run and hasten on without thrusting them
selves into notice. There is something for every age, for every hour
of life: you cannot read in it for any time without having the mind
filled and lined as it were, or, to put it better, fully armed and
clothed. We have just seen how much useful counsel and actual
consolation it contains for an honourable man, born for private
life, and fallen on times of disturbance and revolution. To this I
shall add the counsel he gave those who, like myself and many men of
my acquaintance, suffer from political disturbances without in any
way provoking them, or believing ourselves capable of averting them.
Montaigne, as Horace would have done, counsels them, while
apprehending everything from afar off, not to be too much
preoccupied with such matters in advance; to take advantage to the
end of pleasant moments and bright intervals. Stroke on stroke come
his piquant and wise similes, and he concludes, to my thinking, with
the most delightful one of all, and one, besides, entirely
appropriate and seasonable: it is folly and fret, he said, "to take
out your furred gown at Saint John because you will want it at
Christmas. "




WHAT IS A CLASSIC?

A delicate question, to which somewhat diverse solutions might be
given according to times and seasons. An intelligent man suggests it
to me, and I intend to try, if not to solve it, at least to examine
and discuss it face to face with my readers, were it only to
persuade them to answer it for themselves, and, if I can, to make
their opinion and mine on the point clear. And why, in criticism,
should we not, from time to time, venture to treat some of those
subjects which are not personal, in which we no longer speak of some
one but of some thing? Our neighbours, the English, have well
succeeded in making of it a special division of literature under the
modest title of "Essays. " It is true that in writing of such
subjects, always slightly abstract and moral, it is advisable to
speak of them in a season of quiet, to make sure of our own
attention and of that of others, to seize one of those moments of
calm moderation and leisure seldom granted our amiable France; even
when she is desirous of being wise and is not making revolutions,
her brilliant genius can scarcely tolerate them.

A classic, according to the usual definition, is an old author
canonised by admiration, and an authority in his particular style.
The word classic was first used in this sense by the Romans. With
them not all the citizens of the different classes were properly
called classici, but only those of the chief class, those who
possessed an income of a certain fixed sum. Those who possessed a
smaller income were described by the term infra classem, below the
preeminent class. The word classicus was used in a figurative sense
by Aulus Gellius, and applied to writers: a writer of worth and
distinction, classicus assiduusque scriptor, a writer who is of
account, has real property, and is not lost in the proletariate
crowd. Such an expression implies an age sufficiently advanced to
have already made some sort of valuation and classification of
literature.

At first the only true classics for the moderns were the ancients.
The Greeks, by peculiar good fortune and natural enlightenment of
mind, had no classics but themselves. They were at first the only
classical authors for the Romans, who strove and contrived to
imitate them. After the great periods of Roman literature, after
Cicero and Virgil, the Romans in their turn had their classics, who
became almost exclusively the classical authors of the centuries
which followed. The middle ages, which were less ignorant of Latin
antiquity than is believed, but which lacked proportion and taste,
confused the ranks and orders. Ovid was placed above Homer, and
Boetius seemed a classic equal to Plato. The revival of learning in
the fifteenth and sixteenth centuries helped to bring this long
chaos to order, and then only was admiration rightly proportioned.
Thenceforth the true classical authors of Greek and Latin antiquity
stood out in a luminous background, and were harmoniously grouped on
their two heights.

Meanwhile modern literatures were born, and some of the more
precocious, like the Italian, already possessed the style of
antiquity. Dante appeared, and, from the very first, posterity
greeted him as a classic. Italian poetry has since shrunk into far
narrower bounds; but, whenever it desired to do so, it always found
again and preserved the impulse and echo of its lofty origin. It is
no indifferent matter for a poetry to derive its point of departure
and classical source in high places; for example, to spring from
Dante rather than to issue laboriously from Malherbe.

Modern Italy had her classical authors, and Spain had every right to
believe that she also had hers at a time when France was yet seeking
hers. A few talented writers en dowed with originality and
exceptional animation, a few brilliant efforts, isolated, without
following, interrupted and recommenced, did not suffice to endow a
nation with a solid and imposing basis of literary wealth. The idea
of a classic implies something that has continuance and consistence,
and which produces unity and tradition fashions and transmits
itself, and endures. It was only after the glorious years of Louis
XIV. that the nation felt with tremor and pride that such good
fortune had happened to her. Every voice in formed Louis XIV. of it
with flattery, exaggeration, and emphasis, yet with a certain
sentiment of truth. Then arose a singular and striking contradiction:
those men of whom Perrauit was the chief, the men who were most
smitten with the marvels of the age of Louis the Great, who even
went the length of sacrificing the ancients to the moderns, aimed at
exalting and canonising even those whom they regarded as inveterate
opponents and adversaries. Boileau avenged and angrily upheld the
ancients against Perrault, who extolled the moderns--that is to say,
Corneille, Moliere, Pascal, and the eminent men of his age, Boileau,
one of the first, included. Kindly La Fontaine, taking part in the
dispute in behalf of the learned Huet, did not perceive that, in
spite of his defects, he was in his turn on the point of being held
as a classic himself.

Example is the best definition. From the time France possessed her
age of Louis XIV. and could contemplate it at a little distance, she
knew, better than by any arguments, what to be classical meant. The
eighteenth century, even in its medley of things, strengthened this
idea through some fine works, due to its four great men. Read
Voltaire's Age of Louis XIV. , Montesquieu's Greatness and Fall of
the Romans, Buffon's Epochs of Nature, the beautiful pages of
reverie and natural description of Rousseau's Savoyard Vicar, and
say if the eighteenth century, in these memorable works, did not
understand how to reconcile tradition with freedom of development
and independence. But at the be ginning of the present century and
under the Empire, in sight of the first attempts of a decidedly new
and somewhat adventurous literature, the idea of a classic in a few
resist ing minds, more sorrowful than severe, was strangely nar
rowed and contracted. The first Dictionary of the Academy (1694)
merely defined a classical author as "a much-approved ancient
writer, who is an authority as regards the subject he treats. " The
Dictionary of the Academy of 1835 narrows that definition still
more, and gives precision and even limit to its rather vague form.
It describes classical authors as those "who have become models in
any language whatever," and in all the articles which follow, the
expressions, models, fixed rules for composition and style, strict
rules of art to which men must conform, continually recur. That
definition of classic was evidently made by the respectable
Academicians, our predecessors, in face and sight of what was then
called romantic--that is to say, in sight of the enemy. It seems to
me time to renounce those timid and restrictive definitions and to
free our mind of them. A true classic, as I should like to hear it
defined, is an author who has enriched the human mind, increased its
treasure, and caused it to advance a step; who has discovered some
moral and not equivocal truth, or revealed some eternal passion in
that heart where all seemed known and discovered; who has expressed
his thought, observation, or invention, in no matter what form, only
provided it be broad and great, refined and sensible, sane and
beautiful in itself; who has spoken to all in his own peculiar
style, a style which is found to be also that of the whole world, a
style new without neologism, new and old, easily contemporary with
all time.

Such a classic may for a moment have been revolutionary; it may at
least have seemed so, but it is not; it only lashed and subverted
whatever prevented the restoration of the balance of order and
beauty.

If it is desired, names may be applied to this definition which I
wish to make purposely majestic and fluctuating, or in a word, all-
embracing. I should first put there Corneille of the Polyeucte,
Cinna, and Horaces. I should put Moliere there, the fullest and most
complete poetic genius we have ever had in France. Goethe, the king
of critics, said:--

"Moliere is so great that he astonishes us afresh every time we read
him. He is a man apart; his plays border on the tragic, and no one
has the courage to try and imitate him. His Avare, where vice
destroys all affection between father and son, is one of the most
sublime works, and dramatic in the highest degree. In a drama every
action ought to be important in itself, and to lead to an action
greater still. In this respect Tartuffe is a model. What a piece of
exposition the first scene is! From the beginning everything has an
important meaning, and causes something much more important to be
foreseen. The exposition in a certain play of Lessing that might be
mentioned is very fine, but the world only sees that of Tartuffe
once. It is the finest of the kind we possess. Every year I read a
play of Moliere, just as from time to time I contemplate some
engraving after the great Italian masters. "

I do not conceal from myself that the definition of the classic I
have just given somewhat exceeds the notion usually ascribed to the
term. It should, above all, include conditions of uniformity,
wisdom, moderation, and reason, which dominate and contain all the
others. Having to praise M. Royer-Collard, M. de Remusat said--"If
he derives purity of taste, propriety of terms, variety of
expression, attentive care in suiting the diction to the thought,
from our classics, he owes to himself alone the distinctive
character he gives it all. " It is here evident that the part
allotted to classical qualities seems mostly to depend on harmony
and nuances of expression, on graceful and temperate style: such is
also the most general opinion. In this sense the pre-eminent
classics would be writers of a middling order, exact, sensible,
elegant, always clear, yet of noble feeling and airily veiled
strength. Marie-Joseph Chenier has described the poetics of those
temperate and accomplished writers in lines where he shows himself
their happy disciple:--

"It is good sense, reason which does all,--virtue, genius, soul,
talent, and taste. --What is virtue? reason put in practice;--talent?
reason expressed with brilliance;--soul? reason delicately put
forth;--and genius is sublime reason. "

While writing those lines he was evidently thinking of Pope,
Boileau, and Horace, the master of them all. The peculiar
characteristic of the theory which subordinated imagination and
feeling itself to reason, of which Scaliger perhaps gave the first
sign among the moderns, is, properly speaking, the Latin theory, and
for a long time it was also by preference the French theory. If it
is used appositely, if the term reason is not abused, that theory
possesses some truth; but it is evident that it is abused, and that
if, for instance, reason can be confounded with poetic genius and
make one with it in a moral epistle, it cannot be the same thing as
the genius, so varied and so diversely creative in its expression of
the passions, of the drama or the epic. Where will you find reason
in the fourth book of the AEneid and the transports of Dido? Be that
as it may, the spirit which prompted the theory, caused writers who
ruled their inspiration, rather than those who abandoned themselves
to it, to be placed in the first rank of classics; to put Virgil
there more surely than Homer, Racine in preference to Corneille. The
masterpiece to which the theory likes to point, which in fact brings
together all conditions of prudence, strength, tempered boldness,
moral elevation, and grandeur, is Athalie. Turenne in his two last
campaigns and Racine in Athalie are the great examples of what wise
and prudent men are capable of when they reach the maturity of their
genius and attain their supremest boldness.

Buffon, in his Discourse on Style, insisting on the unity of design,
arrangement, and execution, which are the stamps of true classical
works, said:--"Every subject is one, and however vast it is, it can
be comprised in a single treatise. Interruptions, pauses, sub-
divisions should only be used when many subjects are treated, when,
having to speak of great, intricate, and dissimilar things, the
march of genius is interrupted by the multiplicity of obstacles, and
contracted by the necessity of circumstances: otherwise, far from
making a work more solid, a great number of divisions destroys the
unity of its parts; the book appears clearer to the view, but the
author's design remains obscure. " And he continues his criticism,
having in view Montesquieu's Spirit of Laws, an excellent book at
bottom, but sub-divided: the famous author, worn out before the end,
was unable to infuse inspiration into all his ideas, and to arrange
all his matter. However, I can scarcely believe that Buffon was not
also thinking, by way of contrast, of Bossuet's Discourse on
Universal History, a subject vast indeed, and yet of such an unity
that the great orator was able to comprise it in a single treatise.
When we open the first edition, that of 1681, before the division
into chapters, which was introduced later, passed from the margin
into the text, very thing is developed in a single series, almost in
one breath. It might be said that the orator has here acted like the
nature of which Buffon speaks, that "he has worked on an eternal
plan from which he has nowhere departed," so deeply does he seem to
have entered into the familiar counsels and designs of providence.

Are Athalie and the Discourse on Universal History the greatest
masterpieces that the strict classical theory can present to its
friends as well as to its enemies? In spite of the admirable
simplicity and dignity in the achievement of such unique
productions, we should like, nevertheless, in the interests of art,
to expand that theory a little, and to show that it is possible to
enlarge it without relaxing the tension. Goethe, whom I like to
quote on such a subject, said:--

"I call the classical healthy, and the romantic sickly. In my
opinion the Nibelungen song is as much a classic as Homer. Both are
healthy and vigorous. The works of the day are romantic, not because
they are new, but because they are weak, ailing, or sickly. Ancient
works are classical not because they are old, but because they are
powerful, fresh, and healthy. If we regarded romantic and classical
from those two points of view we should soon all agree. "

Indeed, before determining and fixing the opinions on that matter, I
should like every unbiassed mind to take a voyage round the world
and devote itself to a survey of different literatures in their
primitive vigour and infinite variety. What would be seen? Chief of
all a Homer, the father of the classical world, less a single
distinct individual than the vast living expression of a whole epoch
and a semi-barbarous civilisation. In order to make him a true
classic, it was necessary to attribute to him later a design, a
plan, literary invention, qualities of atticism and urbanity of
which he had certainly never dreamed in the luxuriant development of
his natural inspirations. And who appear by his side? August,
venerable ancients, the AEschyluses and the Sophocles, mutilated, it
is true, and only there to present us with a debris of themselves,
the survivors of many others as worthy, doubtless, as they to
survive, but who have succumbed to the injuries of time. This
thought alone would teach a man of impartial mind not to look upon
the whole of even classical literatures with a too narrow and
restricted view; he would learn that the exact and well-proportioned
order which has since so largely prevailed in our admiration of the
past was only the outcome of artificial circumstances.

And in reaching the modern world, how would it be? The greatest
names to be seen at the beginning of literatures are those which
disturb and run counter to certain fixed ideas of what is beautiful
and appropriate in poetry. For example, is Shakespeare a classic?
Yes, now, for England and the world; but in the time of Pope he was
not considered so. Pope and his friends were the only pre-eminent
classics; directly after their death they seemed so for ever. At the
present time they are still classics, as they deserve to be, but
they are only of the second order, and are for ever subordinated and
relegated to their rightful place by him who has again come to his
own on the height of the horizon.

It is not, however, for me to speak ill of Pope or his great
disciples, above all, when they possess pathos and naturalness like
Goldsmith: after the greatest they are perhaps the most agreeable
writers and the poets best fitted to add charm to life. Once when
Lord Bolingbroke was writing to Swift, Pope added a postscript, in
which he said--"I think some advantage would result to our age, if
we three spent three years together. " Men who, without boasting,
have the right to say such things must never be spoken of lightly:
the fortunate ages, when men of talent could propose such things,
then no chimera, are rather to be envied. The ages called by the
name of Louis XIV. or of Queen Anne are, in the dispassionate sense
of the word, the only true classical ages, those which offer
protection and a favourable climate to real talent. We know only to
well how in our untrammelled times, through the instability and
storminess of the age, talents are lost and dissipated.
Nevertheless, let us acknowledge our age's part and superiority in
greatness. True and sovereign genius triumphs over the very
difficulties that cause others to fail: Dante, Shakespeare, and
Milton were able to attain their height and produce their
imperishable works in spite of obstacles, hardships and tempests.
Byron's opinion of Pope has been much discussed, and the explanation
of it sought in the kind of contradiction by which the singer of Don
Juan and Childe Harold extolled the purely classical school and
pronounced it the only good one, while himself acting so
differently. Goethe spoke the truth on that point when he remarked
that Byron, great by the flow and source of poetry, feared that
Shakespeare was more powerful than himself in the creation and
realisation of his characters. "He would have liked to deny it; the
elevation so free from egoism irritated him; he felt when near it
that he could not display himself at ease. He never denied Pope,
because he did not fear him; he knew that Pope was only a low wall
by his side. "

If, as Byron desired, Pope's school had kept the supremacy and a
sort of honorary empire in the past, Byron would have been the first
and only poet in his particular style; the height of Pope's wall
shuts out Shakespeare's great figure from sight, whereas when
Shakespeare reigns and rules in all his greatness, Byron is only
second.

In France there was no great classic before the age of Louis XIV. ;
the Dantes and Shakespeares, the early authorities to whom, in times
of emancipation, men sooner or later return, were wanting. There
were mere sketches of great poets, like Mathurin Regnier, like
Rabelais, without any ideal, without the depth of emotion and the
seriousness which canonises. Montaigne was a kind of premature
classic, of the family of Horace, but for want of worthy
surroundings, like a spoiled child, he gave himself up to the
unbridled fancies of his style and humour. Hence it happened that
France, less than any other nation, found in her old authors a right
to demand vehemently at a certain time literary liberty and freedom,
and that it was more difficult for her, in enfranchising herself, to
remain classical. However, with Moliere and La Fontaine among her
classics of the great period, nothing could justly be refused to
those who possessed courage and ability.

The important point now seems to me to be to uphold, while
extending, the idea and belief. There is no receipt for making
classics; this point should be clearly recognised. To believe that
an author will become a classic by imitating certain qualities of
purity, moderation, accuracy, and elegance, independently of the
style and inspiration, is to believe that after Racine the father
there is a place for Racine the son; dull and estimable role, the
worst in poetry. Further, it is hazardous to take too quickly and
without opposition the place of a classic in the sight of one's
contemporaries; in that case there is a good chance of not retaining
the position with posterity. Fontanes in his day was regarded by his
friends as a pure classic; see how at twenty-five years' distance
his star has set. How many of these precocious classics are there
who do not endure, and who are so only for a while! We turn round
one morning and are surprised not to find them standing behind us.
Madame de Sevigne would wittily say they possessed but an evanescent
colour. With regard to classics, the least expected prove the best
and greatest: seek them rather in the vigorous genius born immortal
and flourishing for ever. Apparently the least classical of the four
great poets of the age of Louis XIV. was Moliere; he was then
applauded far more than he was esteemed; men took delight in him
without understanding his worth. After him, La Fontaine seemed the
least classical: observe after two centuries what is the result for
both. Far above Boileau, even above Racine, are they not now
unanimously considered to possess in the highest degree the
characteristics of an all-embracing morality?

Meanwhile there is no question of sacrificing or depreciating
anything. I believe the temple of taste is to be rebuilt; but its
reconstruction is merely a matter of enlargement, so that it may
become the home of all noble human beings, of all who have
permanently increased the sum of the mind's delights and
possessions. As for me, who cannot, obviously, in any degree pretend
to be the architect or designer of such a temple, I shall confine
myself to expressing a few earnest wishes, to submit, as it were, my
designs for the edifice. Above all I should desire not to exclude
any one among the worthy, each should be in his place there, from
Shakespeare, the freest of creative geniuses, and the greatest of
classics without knowing it, to Andrieux, the last of classics in
little. "There is more than one chamber in the mansions of my
Father;" that should be as true of the kingdom of the beautiful here
below, as of the kingdom of Heaven. Homer, as always and everywhere,
should be first, likest a god; but behind him, like the procession
of the three wise kings of the East, would be seen the three great
poets, the three Homers, so long ignored by us, who wrote epics for
the use of the old peoples of Asia, the poets Valmiki, Vyasa of the
Hindoos, and Firdousi of the Persians: in the domain of taste it is
well to know that such men exist, and not to divide the human race.
Our homage paid to what is recognized as soon as perceived, we must
not stray further; the eye should delight in a thousand pleasing or
majestic spectacles, should rejoice in a thousand varied and
surprising combinations, whose apparent confusion would never be
without concord and harmony. The oldest of the wise men and poets,
those who put human morality into maxims, and those who in simple
fashion sung it, would converse together in rare and gentle speech,
and would not be surprised at understanding each other's meaning at
the very first word. Solon, Hesiod, Theognis, Job, Solomon, and why
not Confucius, would welcome the cleverest moderns, La Rochefoucauld
and La Bruyere, who, when listening to them, would say "they knew
all that we know, and in repeating life's experiences, we have
discovered nothing. " On the hill, most easily discernible, and of
most accessible ascent, Virgil, surrounded by Menander, Tibullus,
Terence, Fenelon, would occupy himself in discoursing with them with
great charm and divine enchantment: his gentle countenance would
shine with an inner light, and be tinged with modesty; as on the day
when entering the theatre at Rome, just as they finished reciting
his verses, he saw the people rise with an unanimous movement and
pay to him the same homage as to Augustus. Not far from him,
regretting the separation from so dear a friend, Horace, in his
turn, would preside (as far as so accomplished and wise a poet could
preside) over the group of poets of social life who could talk
although they sang,--Pope, Boileau, the one become less irritable,
the other less fault-finding. Montaigne, a true poet, would be among
them, and would give the finishing touch that should deprive that
delightful corner of the air of a literary school. There would La
Fontaine forget himself, and becoming less volatile would wander no
more. Voltaire would be attracted by it, but while finding pleasure
in it would not have patience to remain. A little lower down, on the
same hill as Virgil, Xenophon, with simple bearing, looking in no
way like a general, but rather resembling a priest of the Muses,
would be seen gathering round him the Attics of every tongue and of
every nation, the Addisons, Pellissons, Vauvenargues--all who feel
the value of an easy persuasiveness, an exquisite simplicity, and a
gentle negligence mingled with ornament. In the centre of the place,
in the portico of the principal temple (for there would be several
in the enclosure), three great men would like to meet often, and
when they were together, no fourth, however great, would dream of
joining their discourse or their silence. In them would be seen
beauty, proportion in greatness, and that perfect harmony which
appears but once in the full youth of the world. Their three names
have become the ideal of art--Plato, Sophocles, and Demosthenes.
Those demi-gods honoured, we see a numerous and familiar company of
choice spirits who follow, the Cervantes and Molieres, practical
painters of life, indulgent friends who are still the first of
benefactors, who laughingly embrace all mankind, turn man's
experience to gaiety, and know the powerful workings of a sensible,
hearty, and legitimate joy. I do not wish to make this description,
which if complete would fill a volume, any longer. In the middle
ages, believe me, Dante would occupy the sacred heights: at the feet
of the singer of Paradise all Italy would be spread out like a
garden; Boccaccio and Ariosto would there disport themselves, and
Tasso would find again the orange groves of Sorrento. Usually a
corner would be reserved for each of the various nations, but the
authors would take delight in leaving it, and in their travels would
recognise, where we should least expect it, brothers or masters.
Lucretius, for example, would enjoy discussing the origin of the
world and the reducing of chaos to order with Milton.
But both
arguing from their own point of view, they would only agree as
regards divine pictures of poetry and nature.

Such are our classics; each individual imagination may finish the
sketch and choose the group preferred. For it is necessary to make a
choice, and the first condition of taste, after obtaining knowledge
of all, lies not in continual travel, but in rest and cessation from
wandering. Nothing blunts and destroys taste so much as endless
journeyings; the poetic spirit is not the Wandering Jew. However,
when I speak of resting and making choice, my meaning is not that we
are to imitate those who charm us most among our masters in the
past. Let us be content to know them, to penetrate them, to admire
them; but let us, the late-comers, endeavour to be ourselves. Let us
have the sincerity and naturalness of our own thoughts, of our own
feelings; so much is always possible. To that let us add what is
more difficult, elevation, an aim, if possible, towards an exalted
goal; and while speaking our own language, and submitting to the
conditions of the times in which we live, whence we derive our
strength and our defects, let us ask from time to time, our brows
lifted towards the heights and our eyes fixed on the group of
honoured mortals: what would that say of us?

But why speak always of authors and writings? Maybe an age is coming
when there will be no more writing. Happy those who read and read
again, those who in their reading can follow their unrestrained
inclination! There comes a time in life when, all our journeys over,
our experiences ended, there is no enjoyment more delightful than to
study and thoroughly examine the things we know, to take pleasure in
what we feel, and in seeing and seeing again the people we love: the
pure joys of our maturity. Then it is that the word classic takes
its true meaning, and is defined for every man of taste by an
irresistible choice. Then taste is formed, it is shaped and
definite; then good sense, if we are to possess it at all, is
perfected in us. We have neither more time for experiments, nor a
desire to go forth in search of pastures newf We cling to our
friends, to those proved by long intercourse. Old wine, old books,
old friends. We say to ourselves with Voltaire in these delightful
lines:--"Let us enjoy, let us write, let us live, my dear Horace! . . . I
have lived longer than you: my verse will not last so long. But on
the brink of the tomb I shall make it my chief care--to follow the
lessons of your philosophy--to despise death in enjoying life--to
read your writings full of charm and good sense--as we drink an old
wine which revives our senses. "

In fact, be it Horace or another who is the author preferred, who
reflects our thoughts in all the wealth of their maturity, of some
one of those excellent and antique minds shall we request an
interview at every moment; of some one of them shall we ask a
friendship which never deceives, which could not fail us; to some
one of them shall we appeal for that sensation of serenity and
amenity (we have often need of it) which reconciles us with mankind
and with ourselves.




THE POETRY OF THE CELTIC RACES

BY ERNEST RENAN


TRANSLATED BY W. G. HUTCHISON




INTRODUCTORY NOTE

Ernest Renan was born in 1823, at Treguier in Brittany. He was
educated for the priesthood, but never took orders, turning at first
to teaching. He continued his studies in religion and philology,
and, after traveling in Syria on a government commission, he
returned to Paris and became professor of Hebrew in the College de
France, from which he was suspended for a time on account of
protests against his heretical teachings. He died in 1892.

Renan's activity divides itself into two parts. The first culminated
in his two great works on the "Origins of Christianity" and on the
"History of Israel. " As to the scientific value of these books there
is difference of opinion, as was to be expected in a treatment of
such subjects to the exclusion of the miraculous. But the delicacy
and vividness of his portraits of the great personalities of Hebrew
history, and the acuteness of his analysis of national psychology,
are not to be denied.

The other part of his work is more miscellaneous, but most of it is
in some sense philosophical or autobiographical. Believing
profoundly in scientific method, Renan was unable to find in science
a basis for either ethics or metaphysics, and ended in a skepticism
often ironical, yet not untinged with mysticism.

"He was an amazing writer," says M. Faguet, "and disconcerted
criticism by the impossibility of explaining his methods of
procedure; he was luminous, supple, naturally pliant and yielding;
beneath his apparently effeminate grace an extraordinary strength of
character would suddenly make itself felt; he had, more than any
nineteenth-century writer, the quality of charm; he exercised a
caressing innuence which enveloped, and finally conquered, the
reader. "

In no kind of writing was Renan's command of style more notable than
in the description of scenery; and in his pictures of his native
Brittany in the essay on "The Poetry of the Celtic Races," as well
as in his analysis of national qualities, two of his most
characteristic powers are admirably displayed.




THE POETRY OF THE CELTIC RACES

Every one who travels through the Armorican peninsula experiences a
change of the most abrupt description, as soon as he leaves behind
the district most closely bordering upon the continent, in which the
cheerful but commonplace type of face of Normandy and Maine is
continually in evidence, and passes into the true Brittany, that
which merits its name by language and race. A cold wind arises full
of a vague sadness, and carries the soul to other thoughts; the
tree-tops are bare and twisted; the heath with its monotony of tint
stretches away into the distance; at every step the granite
protrudes from a soil too scanty to cover it; a sea that is almost
always sombre girdles the horizon with eternal moaning. The same
contrast is manifest in the people: to Norman vulgarity, to a plump
and prosperous population, happy to live, full of its own interests,
egoistical as are all these who make a habit of enjoyment, succeeds
a timid and reserved race living altogether within itself, heavy in
appearance but capable of profound feeling, and of an adorable
delicacy in its religious instincts. A like change is apparent, I am
told, in passing from England into Wales, from the Lowlands of
Scotland, English by language and manners, into the Gaelic
Highlands; and too, though with a perceptible difference, when one
buries oneself in the districts of Ireland where the race has
remained pure from all admixture of alien blood. It seems like
entering on the subterranean strata of another world, and one
experiences in some measure the impression given us by Dante, when
he leads us from one circle of his Inferno to another.

Sufficient attention is not given to the peculiarity of this fact of
an ancient race living, until our days and almost under our eyes,
its own life in some obscure islands and peninsulas in the West,
more and more affected, it is true, by external influences, but
still faithful to its own tongue, to its own memories, to its own
customs, and to its own genius. Especially is it forgotten that this
little people, now concentrated on the very confines of the world,
in the midst of rocks and mountains whence its enemies have been
powerless to force it, is in possession of a literature which, in
the Middle Ages, exercised an immense influence, changed the current
of European civilisation, and imposed its poetical motives on nearly
the whole of Christendom. Yet it is only necessary to open the
authentic monuments of the Gaelic genius to be convinced that the
race which created them has had its own original manner of feeling
and thinking, that nowhere has the eternal illusion clad itself in
more seductive hues, and that in the great chorus of humanity no
race equals this for penetrative notes that go to the very heart.
Alas! it too is doomed to disappear, this emerald set in the Western
seas. Arthur will return no more from his isle of faery, and St.
Patrick was right when he said to Ossian, "The heroes that thou
weepest are dead; can they be born again? " It is high time to note,
before they shall have passed away, the divine tones thus expiring
on the horizon before the growing tumult of uniform civilisation.
Were criticism to set itself the task of calling back these distant
echoes, and of giving a voice to races that are no more, would not
that suffice to absolve it from the reproach, unreasonably and too
frequently brought against it, of being only negative?

Good works now exist which facilitate the task of him who undertakes
the study of these interesting literatures. Wales, above all, is
distinguished by scientific and literary activity, not always
accompanied, it is true, by a very rigorous critical spirit, but
deserving the highest praise. There, researches which would bring
honour to the most active centres of learning in Europe are the work
of enthusiastic amateurs. A peasant called Owen Jones published in
1801-7, under the name of the Myvyrian Archaiology of Wales, the
precious collection which is to this day the arsenal of Cymric
antiquities. A number of erudite and zealous workers, Aneurin Owen,
Thomas Price of Crickhowell, William Rees, and John Jones, following
in the footsteps of the Myvyrian peasant, set themselves to finish
his work, and to profit from the treasures which he had collected. A
woman of distinction, Lady Charlotte Guest, charged herself with the
task of acquainting Europe with the collection of the Mabinogion,
[Footnote: The Mabinogion, from the Llyfr Coch O Hergest and other
ancient Welsh Manuscripts, with an English Translation and Notes. By
Lady Charlotte Guest. London and Llandovery, 1837-49. The word
Mabinogi (in the plural Mabinogion) designates a form of romantic
narrative peculiar to Wales. The origin and primitive meaning of
this word are very uncertain, and Lady Guest's right to apply it to
the whole of the narratives which she has published is open to
doubt. ] the pearl of Gaelic literature, the completest expression of
the Cymric genius. This magnificent work, executed in twelve years
with the luxury that the wealthy English amateur knows how to use in
his publications, will one day attest how full of life the
consciousness of the Celtic races remained in the present century.
Only indeed the sincerest patriotism could inspire a woman to
undertake and achieve so vast a literary monument. Scotland and
Ireland have in like measure been enriched by a host of studies of
their ancient history. Lastly, our own Brittany, though all too
rarely studied with the philological and critical rigour now exacted
in works of erudition, has furnished Celtic antiquities with her
share of worthy research. Does it not suffice to cite M. de la
Villemarque, whose name will be henceforth associated among us with
these studies, and whose services are so incontestable, that
criticism need have no fear of depreciating him in the eyes of a
public which has accepted him with so much warmth and sympathy?

I.

If the excellence of races is to be appreciated by the purity of
their blood and the inviolability of their national character, it
must needs be admitted that none can vie in nobility with the still
surviving remains of the Celtic race. [Footnote: To avoid all
misunderstanding, I ought to point out that by the word Celtic I
designate here, not the whole of the great race which, at a remote
epoch, formed the population of nearly the whole of Western Europe,
but simply the four groups which, in our days, still merit this
name, as opposed to the Teutons and to the Neo-Latin peoples. These
four groups are: (i) The inhabitants of Wales or Cambria, and the
peninsula of Cornwall, bearing even now the ancient name of Cymry;
(2) the Bretons bretonnants, or dwellers in French Brittany speaking
Bas-Breton, who represent an emigration of the Cymry from Wales; (3)
the Gaels of the North of Scotland speaking Gaelic; (4) the Irish,
although a very profound line of demarcation separates Ireland from
the rest of the Celtic family. [It is also necessary to point out
that Renan in this essay applies the name Breton both to the Bretons
proper, i. e. the inhabitants of Brittany, and to the British
members of the Celtic race. --Translator's Note. ]]

Never has a human family lived more apart from the world, and been
purer from all alien admixture. Confined by conquest within
forgotten islands and peninsulas, it has reared an impassable
barrier against external influences; it has drawn all from itself;
it has lived solely on its own capital. From this ersues that
powerful individuality, that hatred of the foreigner, which even in
our own days has formed the essential feature of the Celtic peoples.
Roman civilisation scarcely reached them, and left among them but
few traces. The Teutonic invasion drove them back, but did not
penetrate them. At the present hour they are still constant in
resistance to an invasion dangerous in an altogether different way,-
-that of modern civilisation, destructive as it is of local
variations and national types. Ireland in particular (and herein we
perhaps have the secret of her irremediable weakness) is the only
country in Europe where the native can produce the titles of his
descent, and designate with certainty, even in the darkness of
prehistoric ages, the race from which he has sprung.

It is in this secluded life, in this defiance of all that comes from
without, that we must search for the explanation of the chief
features of the Celtic character. It has all the failings, and all
the good qualities, of the solitary man; at once proud and timid,
strong in feeling and feeble in action, at home free and unreserved,
to the outside world awkward and embarrassed. It distrusts the
foreigner, because it sees in him a being more refined than itself,
who abuses its simplicity. Indifferent to the admiration of others,
it asks only one thing, that it should be left to itself. It is
before all else a domestic race, fitted for family life and fireside
joys. In no other race has the bond of blood been stronger, or has
it created more duties, or attached man to his fellow with so much
breadth and depth. Every social institution of the Celtic peoples
was in the beginning only an extension of the family. A common
tradition attests, to this very day, that nowhere has the trace of
this great institution of relationship been better preserved than in
Brittany. There is a widely-spread belief in that country, that
blood speaks, and that two relatives, unknown one to the other, in
any part of the world wheresoever it may be, recognise each other by
the secret and mysterious emotion which they feel in each other's
presence. Respect for the dead rests on the same principle. Nowhere
has reverence for the dead been greater than among the Briton
peoples; nowhere have so many memories and prayers clustered about
the tomb. This is because life is not for these people a personal
adventure, undertaken by each man on his own account, and at his own
risks and perils; it is a link in a long chain, a gift received and
handed on, a debt paid and a duty done.

It is easily discernible how little fitted were natures so strongly
concentrated to furnish one of those brilliant developments, which
imposes the momentary ascendency of a people on the world; and that,
no doubt, is why the part played externally by the Cymric race has
always been a secondary one. Destitute of the means of expansion,
alien to all idea of aggression and conquest, little desirous of
making its thought prevail outside itself, it has only known how to
retire so far as space has permitted, and then, at bay in its last
place of retreat, to make an invincible resistance to its enemies.
Its very fidelity has been a useless devotion. Stubborn of
submission and ever behind the age, it is faithful to its conquerors
when its conquerors are no longer faithful to themselves. It was the
last to defend its religious independence against Rome--and it has
become the staunchest stronghold of Catholicism; it was the last in
France to defend its political independence against the king--and it
has given to the world the last royalists.

Thus the Celtic race has worn itself out in resistance to its time,
and in the defence of desperate causes. It does not seem as though
in any epoch it had any aptitude for political life. The spirit of
family stifled within it all attempts at more extended organisation.
Moreover, it does not appear that the peoples which form it are by
themselves susceptible of progress. To them life appears as a fixed
condition, which man has no power to alter. Endowed with little
initiative, too much inclined to look upon themselves as minors and
in tutelage, they are quick to believe in destiny and resign
themselves to it. Seeing how little audacious they are against God,
one would scarcely believe this race to be the daughter of Japhet.

Thence ensues its sadness. Take the songs of its bards of the sixth
century; they weep more defeats than they sing victories. Its
history is itself only one long lament; it still recalls its exiles,
its flights across the seas. If at times it seems to be cheerful, a
tear is not slow to glisten behind its smile; it does not know that
strange forgetfulness of human conditions and destinies which is
called gaiety. Its songs of joy end as elegies; there is nothing to
equal the delicious sadness of its national melodies. One might call
them emanations from on high which, falling drop by drop upon the
soul, pass through it like memories of another world. Never have men
feasted so long upon these solitary delights of the spirit, these
poetic memories which simultaneously intercross all the sensations
of life, so vague, so deep, so penetrative, that one might die from
them, without being able to say whether it was from bitterness or
sweetness.

The infinite delicacy of feeling which characterises the Celtic race
is closely allied to its need of concentration. Natures that are
little capable of expansion are nearly always those that feel most
deeply, for the deeper the feeling, the less it tends to express
itself. Thence we have that charming shamefastness, that veiled and
exquisite sobriety, equally far removed from the sentimental
rhetoric too familiar to the Latin races, and the reflective
simplicity of Germany, which are so admirably displayed in the
ballads published by M. de la Villemarque. The apparent reserve of
the Celtic peoples, often taken for coldness, is due to this inward
timidity which makes them believe that a feeling loses half its
value if it be expressed; and that the heart ought to have no other
spectator than itself.

If it be permitted us to assign sex to nations as to individuals, we
should have to say without hesitance that the Celtic race,
especially with regard to its Cymric or Breton branch, is an
essentially feminine race. No human family, I believe, has carried
so much mystery into love. No other has conceived with more delicacy
the ideal of woman, or been more fully dominated by it. It is a sort
of intoxication, a madness, a vertigo. Read the strange Mabinogi of
Peredur, or its French imitation Parceval le Gallois; its pages are,
as it were, dewy with feminine sentiment. Woman appears therein as a
kind of vague vision, an intermediary between man and the
supernatural world. I am acquainted with no literature that offers
anything analogous to this. Compare Guinevere or Iseult with those
Scandinavian furies Gudrun and Chrimhilde, and you will avow that
woman such as chivalry conceived her, an ideal of sweetness and
loveliness set up as the supreme end of life, is a creation neither
classical, nor Christian, nor Teutonic, but in reality Celtic.

Imaginative power is nearly always proportionate to concentration of
feeling, and lack of the external development of life. The limited
nature of Greek and Italian imagination is due to the easy
expansiveness of the peoples of the South, with whom the soul,
wholly spread abroad, reflects but little within itself. Compared
with the classical imagination, the Celtic imagination is indeed the
infinite contrasted with the finite. In the fine Mabinogi of the
Dream of Maxem Wledig, the Emperor Maximus beholds in a dream a
young maiden so beautiful, that on waking he declares he cannot live
without her. For several years his envoys scour the world in search
of her; at last she is discovered in Brittany. So is it with the
Celtic race; it has worn itself out in taking dreams for realities,
and in pursuing its splendid visions. The essential element in the
Celt's poetic life is the adventure--that is to say, the pursuit of
the unknown, an endless quest after an object ever flying from
desire. It was of this that St. Brandan dreamed, that Peredur sought
with his mystic chivalry, that Knight Owen asked of his subterranean
journeyings. This race desires the infinite, it thirsts for it, and
pursues it at all costs, beyond the tomb, beyond hell itself. The
characteristic failing of the Breton peoples, the tendency to
drunkenness--a failing which, according to the traditions of the
sixth century, was the cause of their disasters--is due to this
invincible need of illusion. Do not say that it is an appetite for
gross enjoyment; never has there been a people more sober and more
alien to all sensuality. No, the Bretons sought in mead what Owen,
St. Brandan, and Peredur sought in their own way,--the vision of the
invisible world. To this day in Ireland drunkenness forms a part of
all Saint's Day festivals--that is to say, the festivals which best
have retained their national and popular aspect.

Thence arises the profound sense of the future and of the eternal
destinies of his race, which has ever borne up the Cymry, and kept
him young still beside his conquerors who have grown old. Thence
that dogma of the resurrection of the heroes, which appears to have
been one of those that Christianity found most difficulty in rooting
out. Thence Celtic Messianism, that belief in a future avenger who
shall restore Cambria, and deliver her out of the hands of her
oppressors, like the mysterious Leminok promised by Merlin, the Lez-
Breiz of the Armoricans, the Arthur of the Welsh. [Footnote: M.
Augustin Thierry has finely remarked that the renown attaching to
Welsh prophecies in the Middle Ages was due to their steadfastness
in affirming the future of their race. (Histoire de la Conquete
d'Angleterre. )] The hand that arose from the mere, when the sword of
Arthur fell therein, that seized it, and brandished it thrice, is
the hope of the Celtic races. It is thus that little peoples dowered
with imagination revenge themselves on their conquerors. Feeling
themselves to be strong inwardly and weak outwardly, they protest,
they exult; and such a strife unloosing their might, renders them
capable of miracles. Nearly all great appeals to the supernatural
are due to peoples hoping against all hope. Who shall say what in
our own times has fermented in the bosom of the most stubborn, the
most powerless of nationalities--Poland? Israel in humiliation
dreamed of the spiritual conquest of the world, and the dream has
come to pass.

II

At a first glance the literature of Wales is divided into three
perfectly distinct distinct branches: the bardic or lyric, which
shines forth in splendour in the sixth century by the works of
Taliessin, of Aneurin, and of Liware'h Hen, and continues through an
uninterrupted series of imitations up to modern times; the
Mabinogion, or literature of romance, fixed towards the twelfth
century, but linking themselves in the groundwork of their ideas
with the remotest ages of the Celtic genius; finally, an
ecclesiastical and legendary literature, impressed with a distinct
stamp of its own. These three literatures seem to have existed side
by side, almost without knowledge of one another. The bards, proud
of their solemn rhetoric, held in disdain the popular tales, the
form of which they considered careless; on the other hand, both
bards and romancers appear to have had few relations with the
clergy; and one at times might be tempted to suppose that they
ignored the existence of Christianity. To our thinking it is in the
Mabinogion that the true expression of the Celtic genius is to be
sought; and it is surprising that so curious a literature, the
source of nearly all the romantic creations of Europe, should have
remained unknown until our own days. The cause is doubtless to be
ascribed to the dispersed state of the Welsh manuscripts, pursued
till last century by the English, as seditious books compromising
those who possessed them. Often too they fell into hands of ignorant
owners whose caprice or ill-will sufficed to keep them from critical
research.

The Mabinogion have been preserved for us in two principal
documents--one of the thirteenth century from the library of
Hengurt, belonging to the Vaughan family; the other dating from the
fourteenth century, known under the name of the Red Book of Hergest,
and now in Jesus College, Oxford. No doubt it was some such
collection that charmed the weary hours of the hapless Leolin in the
Tower of London, and was burned after his condemnation, with the
other Welsh books which had been the companions of his captivity.
Lady Charlotte Guest has based her edition on the Oxford manuscript;
it cannot be sufficiently regretted that paltry considerations have
caused her to be refused the use of the earlier manuscript, of which
the later appears to be only a copy. Regrets are redoubled when one
knows that several Welsh texts, which were seen and copied fifty
years ago, have now disappeared. It is in the presence of facts such
as these that one comes to believe that revolutions--in general so
destructive of the works of the past--are favourable to the
preservation of literary monuments, by compelling their
concentration in great centres, where their existence, as well as
their publicity, is assured.

The general tone of the Mabinogion is rather romantic than epic.
Life is treated naively and not too emphatically. The hero's
individuality is limitless. We have free and noble natures acting in
all their spontaneity. Each man appears as a kind of demi-god
characterised by a supernatural gift. This gift is nearly always
connected with some miraculous object, which in some measure is the
personal seal of him who possesses it. The inferior classes, which
this people of heroes necessarily supposes beneath it, scarcely show
themselves, except in the exercise of some trade, for practising
which they are held in high esteem. The somewhat complicated
products of human industry are regarded as living beings, and in
their manner endowed with magical properties. A multiplicity of
celebrated objects have proper names, such as the drinking-cup, the
lance, the sword, and the shield of Arthur; the chess-board of
Gwendolen, on which the black pieces played of their own accord
against the white; the horn of Bran Galed, where one found whatever
liquor one desired; the chariot of Morgan, which directed itself to
the place to which one wished to go; the pot of Tyrnog, which would
not cook when meat for a coward was put into it; the grindstone of
Tudwal, which would only sharpen brave men's swords; the coat of
Padarn, which none save a noble could don; and the mantle of Tegan,
which no woman could put upon herself were she not above reproach.
[Footnote: Here may be recognised the origin of trial by court
mantle, one of the most interesting episodes in Lancelot of the
Lake. ] The animal is conceived in a still more individual way; it
has a proper name, personal qualities, and a role which it develops
at its own will and with full consciousness. The same hero appears
as at once man and animal, without it being possible to trace the
line of demarcation between the two natures.

The tale of Kilhwch and Olwen, the most extraordinary of the
Mabinogion, deals with Arthur's struggle against the wild-boar king
Twrch Trwyth, who with his seven cubs holds in check all the heroes
of the Round Table. The adventures of the three hundred ravens of
Kerverhenn similarly form the subject of the Dream of Rhonabwy. The
idea of moral merit and demerit is almost wholly absent from all
these compositions. There are wicked beings who insult ladies, who
tyrannise over their neighbours, who only find pleasure in evil
because such is their nature; but it does not appear that they incur
wrath on that account. Arthur's knights pursue them, not as
criminals but as mischievous fellows. All other beings are perfectly
good and just, but more or less richly gifted. This is the dream of
an amiable and gentle race which looks upon evil as being the work
of destiny, and not a product of the human conscience. All nature is
enchanted, and fruitful as imagination itself in indefinitely varied
creations. Christianity rarely discloses itself; although at times
its proximity can be felt, it alters in no respect the purely
natural surroundings in which everything takes place. A bishop
figures at table beside Arthur, but his function is strictly limited
to blessing the dishes. The Irish saints, who at one time present
themselves to give their benediction to Arthur and receive favours
at his hands, are portrayed as a race of men vaguely known and
difficult to understand. No mediaeval literature held itself further
removed from all monastic influence. We evidently must suppose that
the Welsh bards and story-tellers lived in a state of great
isolation from the clergy, and had their culture and traditions
quite apart.

The charm of the Mabinogion principally resides in the amiable
serenity of the Celtic mind, neither sad nor gay, ever in suspense
between a smile and a tear. We have in them the simple recital of a
child, unwitting of any distinction between the noble and the
common; there is something of that softly animated world, of that
calm and tranquil ideal to which Ariosto's stanzas transport us. The
chatter of the later mediaeval French and German imitators can give
no idea of this charming manner of narration. The skilful Chretien
de Troyes himself remains in this respect far below the Welsh story-
tellers, and as for Wolfram of Eschenbach, it must be avowed that
the joy of the first discovery has carried German critics too far in
the exaggeration of his merits. He loses himself in interminable
descriptions, and almost completely ignores the art of his recital.

What strikes one at a first glance in the imaginative compositions
of the Celtic races, above all when they are contrasted with those
of the Teutonic races, is the extreme mildness of manners pervading
them. There are none of those frightful vengeances which fill the
Edda and the Niebelungen. Compare the Teutonic with the Gaelic
hero,--Beowulf with Peredur, for example. What a difference there
is! In the one all the horror of disgusting and blood-embrued
barbarism, the drunkenness of carnage, the disinterested taste, if I
may say so, for destruction and death; in the other a profound sense
of justice, a great height of personal pride it is true, but also a
great capacity for devotion, an exquisite loyalty.