Harvard Classics, vol 32 by Immanuel Kant (classic fiction .TXT) 📖

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