Travels in France during the years 1814-1815 by Patrick Fraser Tytler (beach read book .txt) 📖

midst of which the fountains still played, were covered with weeds, and the rank grass was waving round the bases of the marble statues, which were placed at the termination of the green alleys; every thing showed the riches, the care, and the taste of a former generation, and the carelessness, and neglect of the present. On remonstrating with the proprietor, he defended himself by telling us how lonely he should feel at such a distance from Paris: "C'est toujours ici (said he), un triste sejour." A collation was served up, and after this, being in want of amusement, he opened a closet in the corner of the room, and discovered to us, in its recess, a vast variety of toys, which he began to exhibit to the ladies, telling us, "that when forced to live in the country, he diverted his solitary hours with these entertaining little affairs."

Nothing certainly can be more striking than this contrast between the modern and ancient life of a French proprietor or nobleman; and it is a question which must necessarily arise in the mind of every one, who has observed this remarkable difference, what are the causes to which so great a change is owing? Perhaps, if we look into it, this extraordinary change will be found to have arisen chiefly out of the vigorous, but dangerous policy of that age, when, under the administration of Richelieu, the power of the sovereign rose upon the ruins of the aristocracy—when the institution of standing armies first began to be systematically followed—and when, by the perfection of their police, and that vilest of all inventions, their espionage, the comfort, the security, and the confidence of society was destroyed, by the secret influence of these poisonous and pensioned menials of government. In the successful accomplishment of these three great objects, was involved the destruction of that older state of France, which was to be seen under Henry III. and IV. The schemes by which Richelieu succeeded in drawing the nobility from the interior of the country to Paris, the style of splendid living, sumptuous expences, and magnificent entertainments which he introduced, produced two unhappy effects; it removed them from their country seats, and forced them at the same time to drain their estates, in order to defray their increasing expences in the capital. It made them dependent in a great measure upon the crown; and thus tied them down to Paris. On the other hand, by what has been termed his admirable police, by his encouragement to all informers, by the jealousy of any thing like private intercourse, he rendered the retirement of their homes, the fire-side of their families, instead of that sacred spot, around which was once seated all the charities of life, the very center of all that was hollow, gloomy, and suspicious. It was in this manner that the French seem actually to have been driven from the society of their families, to seek a kind of desperate solitude in public; and that which was at first a necessity, has, in the progress of time, become an established habit. But I have to apologise for introducing, in a chapter of this light nature, and that perhaps in too strong language, these vague conjectures upon so serious a subject as this change in the condition of French society.

One necessary effect of the taste for publicity, formerly mentioned, is, that in France every thing is in some way or other attempted to be made a spectacle; and this favourite word itself has gradually grown into such universal usage, that it has acquired such power over the minds of all classes of the people, as to be hardly ever out of their mouths. Whatever they are describing, be it grave or gay, serious or ludicrous, a comedy or a tragedy, a scene in the city or in the country; in short, every thing, of whatever nature or character it may chance to be, which is seen in public, is included under this all-comprehensive term; and the very highest praise which can be given it, is, "Ah Monsieur, c'est un vrai spectacle. C'est un spectacle tout a fait superbe." It is this taste for spectacles, this inordinate passion for every thing producing effect, every thing which can add in this manner to what they conceive ought to be the necessary arrangement in all public exhibitions, which has, in many of these exhibitions, completely destroyed all the deeper feelings which they would otherwise naturally be calculated to produce. It is this taste which has created that dreadful and disgusting anomaly in national antiquities, the Museé des Monumens François, which has mangled and dilapidated the monuments of the greatest men, and the memorials of the proudest days of France, to produce in Paris a spectacle worthy of the grande nation. It is this same taste, which, in that solemn commemoration of the death of their king, the service solennel for Louis XVI. contrived to introduce a species of affected parade,—a detailed and theatrical sort of grief,—a kind of meretricious mummery of sorrow, which banished all the feelings, and almost completely destroyed the impression which such a scene in any other country would inevitably have produced. Any thing, it may be easily imagined, which gratifies this general taste for public exhibitions, and any thing which is fitted to increase their effect, is greeted by the French with the highest applause. One would have imagined, that the first appearance of Lord Wellington in the French opera, would, to most Frenchmen, have been a circumstance certainly not to make an exhibition of: Very far from it—The presence of Lord Wellington added greatly to the general effect of the spectacle. This was all the French thought of; and he was received, if possible, with more enthusiastic applause, and more reiterated greetings than the royal family of France. Would a French conqueror have met with the same reception in the opera at London?

When the reviews of the Russian troops were daily occurring in the Champ de Mars, an anxiety to examine the state of their discipline, and the general condition of their army, induced us punctually to attend them. What was our astonishment, when we saw several barouches full of French ladies, seemingly taking the greatest delight in superintending the manœuvres of the very men who had conquered the armies, and occupied the capital of their country; and delighted with the attentions which were paid them by the different Russian officers who had led them to victory?

But there is yet another exhibition in Paris, which is at once the most singular in its nature, and which shows, in the very strongest light, this general deep-set passion in the French, for the creation of what they imagine the necessary effect which ought to be attended to in every thing which is displayed in public, I mean that extraordinary exhibition which they term the Catacombs. These catacombs are large subterraneous excavations, which stretch themselves to a great extent under Paris; and which were originally the quarries which furnished the stones for building the greater part of that capital. You arrive at them by descending, by torch light, a narrow winding stair, which strikes perpendicularly into the bosom of the earth; and which, although its height is not above 70 feet, leads you to a landing-place, so dark and dismal, that it might be as well in the centre of the earth as so near its surface. After walking for a considerable time through different obscure subterranean streets, you arrive at the great stone gate of the catacombs, above which you can read by the light of the torches, "The Habitation of the Dead." On entering, you find yourself in a dark wide hall, supported by broad stone pillars, with a low arched roof, the further end of which is hid in complete obscurity; but the walls of which, (as they are illuminated by the livid and feeble gleam of the torches), are discovered to be completely formed of human bones. All this, as far as I have yet described,—- the subterranean streets which you traverse,—the dark gate of the great hall, over which you read the simple but solemn inscription,—and the gloom and silence of the chambers, whose walls you discover to be furnished in this terrible manner, is fitted to produce a most deep and powerful effect. To find yourself the only living being, surrounded on every side by the dead; to be the only thing that possesses the consciousness of existence, while millions of those who have once been as you are—millions of all ages, from the infant who has just looked in upon this world, in its innocent road to heaven, to the aged, who has fallen in the fullness of years;—and the young, the gay, and the beautiful of former centuries, lie all cold and silent around you:—it is impossible that these deep and united feelings should not powerfully affect the mind,—should not lead it to rivet its thoughts upon that last scene, which all are to act alone, and where, in the cold and unconscious company of the dead, we are here destined to "end the strange, eventful history" of our nature: But unfortunately, the guide, who now approaches you, insists upon your examining the details, which he conceives it is his duty to point out; and it is then that you discover, that this prevailing taste for producing effect, this love of the arrangements necessary to complete the spectacle, has invaded even this sacred receptacle. The ornaments which he points out, and which are curiously framed of the whitest and most polished bones; little altars which are built of the same materials in the corners of the chambers, and crowned with what the artists have imagined the handsomest skulls; and the frequent poetical quotations, which, upon a nearer view, you discern upon the walls;—all this, in the very worst style of French taste, evinces, that the same unhallowed hands which had dared to violate the monuments of their heroes, have not scrupled to intrude their presumptuous and miserable efforts, even into the humbler sanctuary allotted to the dead.

I have above described the singular, and, to a stranger, most entertaining scenes which take place at the French balls. If, however, owing to this extraordinary state of manners, to the ludicrous ardour of the old ladies, and the very moderate proportion of the young ones, a French ball is more the scene of aged folly, than of youthful pleasure, it must be allowed, that in another style of society, their lesser parties, they far excel us. The conversation in these is easy, natural, and often even fascinating. The terms of polite familiarity with which you yourself are regarded, and with which you are encouraged to treat all around you; the absence of every thing like stiffness, or formality; the little interludes of music, in which, either in singing, or in performing on some instrument, most of those you meet are able to take a part; the round games which are often introduced, and where all forget themselves to be happy, and to make others so,—this species of party is certainly something far superior to those crowded assemblies, engrafted now, as it would appear, with general consent, upon English society; and which, with a ludicrous perversity, we have denominated by that sacred word of Home, which has so long connected itself with scenes of tranquil and unobtrusive enjoyment.

After having given such a picture of the general state of French society, as we have presented in this chapter, it would be highly unjust if we did not mention, that to the above descriptions of life and manners, we found many exceptions. That we met with many very intelligent men, of liberal education and gentlemanly conduct; and that in the town where we resided, and indeed generally during our travels, we experienced the greatest hospitality and kindness. The most amiable features in the French character are shewn in their conduct to strangers. But this