Chapter 3

'Let us recognise here, then, our profound subjection.... Let us rend the melancholy veil which hides from our eyes the eternal chain of the world and the glory of the Creator.... External objects form ideas in the mind, these ideas form sentiments, these sentiments volitions, these volitions actions in ourselves and outside of ourselves. So noble a dependence in all the parts of this vast universe must conduct our reflections to the unity of its principle; this subordination makes the true greatness of the beings subordinated. The excellence of man is in his dependence; his subjection displays two marvellous images--the infinite power of God, and the dignity of our own soul.... Man independent would be an object of contempt; the feeling of his own imperfection would be his eternal torture. But the same feeling, when we admit his dependence, is the foundation of his sweetest hope; it reveals to him the nothingness of finite good, and leads him back to his principle, which insists on joining itself to him, and which alone can satisfy his desires in the possession of himself.'[47]

Vauvenargues showed his genuine healthiness not more by a plenary rejection of the doctrine of the incurable vileness and frenzy of man, than by his freedom from the boisterous and stupid transcendental optimism which has too many votaries in our time. He would not have men told that they are miserable earth-gnomes, the slaves of a black destiny, but he still placed them a good deal lower than the angels. For instance: 'We are too inattentive or too much occupied with ourselves, to get to the bottom of one another's characters; _whoever has watched masks at a ball dancing together in a friendly manner, and joining hands without knowing who the others are, and then parting the moment afterwards never to meet again nor ever to regret, or be regretted, can form some idea of the world_.'[48] But then, as he said elsewhere: 'We can be perfectly aware of our imperfection, without being humiliated by the sight. _One of the noblest qualities of our nature is that we are able so easily to dispense with greater perfection._'[49] In all this we mark the large and rational humaneness of the new time, a tolerant and kindly and elevating estimate of men.

The faith in the natural and simple operation of virtue, without the aid of all sorts of valetudinarian restrictions, comes out on every occasion. The Trappist theory of the conditions of virtue found no quarter with him. Mirabeau for instance complained of the atmosphere of the Court, as fatal to the practice of virtue. Vauvenargues replied that the people there were doubtless no better than they should be, and that vice was dominant. 'So much the worse for those who have vices. But when you are fortunate enough to possess virtue, it is, to my thinking, a very noble ambition to lift up this same virtue in the bosom of corruption, to make it succeed, to place it above all, to indulge and control the passions without reproach, to overthrow the obstacles to them, and to surrender yourself to the inclinations of an upright and magnanimous heart, instead of combating or concealing them in retreat, without either satisfying or vanquishing them. I know nothing so weak and so vain as to flee before vices, or to hate them without measure; for people only hate them by way of reprisal because they are afraid of them, or else out of vengeance because these vices have played them some sorry turn; but a little loftiness of soul, some knowledge of the heart, a gentle and tranquil humour, will protect you against the risk of being either surprised, or keenly wounded by them.'[50]

There is a tolerably obvious distinction between two principal ways of examining character. One is a musing, subjective method of delineation, in which the various shades and windings seem to reveal themselves with a certain spontaneity, and we follow many recesses and depths in the heart of another, such as only music stirs into consciousness in ourselves. Besides this rarer poetic method, there is what may be styled the diplomatist's method; it classifies characters objectively, according to the kinds of outer conduct in which they manifest themselves, and according to the best ways of approaching and dealing with them. The second of these describes the spirit in which Vauvenargues observed men. He is French, and not German, and belongs to the eighteenth century, and not to the seventeenth or the nineteenth. His _Characters_, very little known in this country, are as excellent as any work in this kind that we are acquainted with, or probably as excellent as such work can be. They are real and natural, yet while abstaining as rigorously as Vauvenargues everywhere does from grotesque and extravagant traits, they avoid equally the vice of presenting the mere bald and sterile flats of character, which he that runs may read. As we have said, he had the quality possessed by so few of those who write about men; he watched men, and drew from the life. In a word, he studied concrete examples and interrogated his own experience--the only sure guarantee that one writing on his themes has anything which it is worth our while to listen to. Among other consequences of this reality of their source is the agreeable fact that these pictures are free from that clever bitterness and easy sarcasm, by which crude and jejune observers, thinking more of their own wit than of what they observe, sometimes gain a little reputation. Even the coxcombs, self-duping knaves, simpletons, braggarts, and other evil or pitiful types whom he selects, are drawn with unstrained and simple conformity to reality. The pictures have no moral label pinned on to them. Yet Vauvenargues took life seriously enough, and it was just because he took it seriously, that he had no inclination to air his wit or practise a verbal humour upon the stuff out of which happiness and misery are made.

One or two fragments will suffice. Take the Man of the World, for instance:

'A man of the world is not he who knows other men best, who has most foresight or dexterity in affairs, who is most instructed by experience and study; he is neither a good manager, nor a man of science, nor a politician, nor a skilful officer, nor a painstaking magistrate. He is a man who is ignorant of nothing but who knows nothing; who, doing his own business ill, fancies himself very capable of doing that of other people; a man who has much useless wit, who has the art of saying flattering things which do not flatter, and judicious things which give no information; who can persuade nobody, though he speaks well; endowed with that sort of eloquence which can bring out trifles, and which annihilates great subjects; as penetrating in what is ridiculous and external in men, as he is blind to the depths of their minds. One who, afraid of being wearisome by reason, is wearisome by his extravagances; is jocose without gaiety, and lively without passion.'[51]

Or the two following, the Inconstant Man, and Lycas or the Firm Man:

'Such a man seems really to possess more than one character. A powerful imagination makes his soul take the shape of all the objects that affect it; he suddenly astonishes the world by acts of generosity and courage which were never expected of him; the image of virtue inflames, elevates, softens, masters his heart; he receives the impression from the loftiest, and he surpasses them. But when his imagination has grown cold, his courage droops, his generosity sinks; the vices opposed to these virtues take possession of his soul, and after having reigned awhile supreme, they make way for other objects.... We cannot say that they have a great nature, or strong, or weak, or light; it is a swift and imperious imagination which reigns with sovereign power over all their being, which subjugates their genius, and which prescribes for them in turn those fine actions and those faults, those heights and those littlenesses, those flights of enthusiasm and those fits of disgust, which we are wrong in charging either with hypocrisy or madness.'[52]

'Lycas unites with a self-reliant, bold, and impetuous nature, a spirit of reflection and profundity which moderates the counsels of his passions, which leads him by inpenetrable motives, and makes him advance to his ends by many paths. He is one of those long-sighted men, who consider the succession of events from afar off, who always finish a design begun; who are capable, I do not say of dissembling either a misfortune or an offence, but of rising above either, instead of letting it depress them; deep natures, independent by their firmness in daring all and suffering all; who, whether they resist their inclinations out of foresight, or whether, out of pride and a secret consciousness of their resources, they defy what is called prudence, always, in good as in evil, cheat the acutest conjectures.'[53]

Let us note that Vauvenargues is almost entirely free from that favourite trick of the aphoristic person, which consists in forming a series of sentences, the predicates being various qualifications of extravagance, vanity, and folly, and the subject being Women. He resists this besetting temptation of the modern speaker of apophthegms to identify woman and fool. On the one or two occasions in which he begins the maxim with the fatal words, _Les femmes_, he is as little profound as other people who persist in thinking of man and woman as two different species. 'Women,' for example, 'have ordinarily more vanity than temperament, and more temperament than virtue'--which is fairly true of all human beings, and in so far as it is true, describes men just as exactly--and no more so--as it describes women. In truth, Vauvenargues felt too seriously about conduct and character to go far in this direction. Now and again he is content with a mere smartness, as when he says: 'There are some thoroughly excellent people who cannot get rid of their _ennui_ except at the expense of society.' But such a mood is not common. He is usually grave, and not seldom profoundly weighty, delicate without being weak, and subtle without obscurity; as for example:

'People teach children to fear and obey; the avarice, pride, or timidity of the fathers, instructs the children in economy, arrogance, or submission. We stir them up to be yet more and more copyists, which they are only too disposed to be, as it is; nobody thinks of making them original, hardy, independent.'

'If instead of dulling the vivacity of children, people did their best to raise the impulsiveness and movement of their characters, what might we not expect from a fine natural temper?'

Again: 'The moderation of the weak is mediocrity.'

'What is arrogance in the weak is elevation in the strong; as the strength of a sick man is frenzy, and that of a whole man is vigour.'

'To speak imprudently and to speak boldly are nearly always the same thing. But we may speak without prudence, and still speak what is right; and it is a mistake to fancy that a man has a shallow intelligence, because the boldness of his character or the liveliness of his temper may have drawn from him, in spite of himself, some dangerous truth.'

'It is a great sign of mediocrity always to praise moderately.'

* * * * *

Vauvenargues has a saying to the effect that men very often, without thinking of it, form an idea of their face and expression from the ruling sentiment of which they are conscious in themselves at the time. He hints that this is perhaps the reason why a coxcomb always believes himself to be handsome.[54] And in a letter to Mirabeau, he describes pleasantly how sometimes in moments of distraction he pictures himself with an air of loftiness, of majesty, of penetration, according to the idea that is occupying his mind, and how if by chance he sees his face in the mirror, he is nearly as much amazed as if he saw a Cyclops or a Tartar.[55] Yet his nature, if we may trust the portrait, revealed itself in his face; it is one of the most delightful to look upon, even in the cold inarticulateness of an engraving, that the gallery of fair souls contains for us. We may read the beauty of his character in the soft strength of the brow, the meditative lines of mouth and chin, above all, the striking clearness, the self-collection, the feminine solicitude, that mingle freely and without eagerness or expectancy in his gaze, as though he were hearkening to some ever-flowing inward stream of divine melody. We think of that gracious touch in Bacon's picture of the father of Solomon's House, that 'he had an aspect as though he pitied men.' If we reproach France in the eighteenth century with its coarseness, artificiality, shallowness, because it produced such men as the rather brutish Duclos, we ought to remember that this was also the century of Vauvenargues, one of the most tender, lofty, cheerful, and delicately sober of all moralists.

[Footnote 1: _Pensées_, i. v. 8.]

[Footnote 2: _Ib._ i. vi. 16.]

[Footnote 3: _Ib._ i. vii. 6.]

[Footnote 4: M. Gilbert's edition of the _Works and Correspondence of Vauvenargues_ (2 vols. Paris: Furne, 1857), ii. 133.]

[Footnote 5: _Éloge de P.H. de Seytres_. _OEuv._ i. 141-150.]

[Footnote 6: _OEuv._ ii. 233. See too p. 267.]

[Footnote 7: No. 579, i. 455.]

[Footnote 8: _Réflexions sur Divers Sujets_, i. 104.]

[Footnote 9: _OEuv._ ii. 249.]

[Footnote 10: _Ib._ ii. 265.]

[Footnote 11: _Ib._ ii. 266.]

[Footnote 12: _Conseils à un Jeune Homme_, i. 124.]

[Footnote 13: _OEuv._ ii. 252.]

[Footnote 14: _Ib._ ii. 272.]

[Footnote 15: _Mémoires de Marmontel_, vol. i. 189.]

[Footnote 16: The reader of Marmontel's _Mémoires_ will remember the extraordinary and grotesque circumstances under which a younger brother of Mirabeau, (of _l'ami des hommes_, that is) appealed to the memory of Vauvenargues. See vol. i. 256-260.]

[Footnote 17: _OEuv._ i. 225-232.]

[Footnote 18: _Letter to Saint-Vincens_, ii. 146.]

[Footnote 19: No. 318.]

[Footnote 20: Napoleon said on some occasion, '_Il faut vouloir vivre et savoir mourir_.' M. Littré prefaces the third volume of that heroic monument of learning and industry, his _Dictionary of the French Language_, by the words: 'He who wishes to employ his life seriously ought always to act as if he had long to live, and to govern himself as if he would have soon to die.']

[Footnote 21: No. 223.]

[Footnote 22: No. 300.]

[Footnote 23: No. 264.]

[Footnote 24: _Réflexions Critiques sur quelques Poètes_, i. 237.]

[Footnote 25: _OEuv_. i. 248.]

[Footnote 26: _Réflexions Critiques sur quelques Poètes_, i. 238.]

[Footnote 27: _OEuv._ i. 243.]

[Footnote 28: _OEuv._ i. 275.]

[Footnote 29: _Correspondance_. _OEuv._ ii. 131, 207.]

[Footnote 30: Long-winded and tortuous and difficult to seize as Shaftesbury is as a whole, in detached sentences he shows marked aphoristic quality; _e.g._ 'The most ingenious way of becoming foolish is by a system;' 'The liker anything is to wisdom, if it be not plainly the thing itself, the more directly it becomes its opposite.']

[Footnote 31: No. 278 (i. 411).]

[Footnote 32: _OEuv._ ii. 115.]

[Footnote 33: _Ib._ i. 87.]

[Footnote 34: Doch Zuweilen ist des Sinns in einer Sache Auch mehr, als wir vermuthen; und es wäre So unerhört doch nicht, dass uns der Heiland Auf Wegen zu sich zöge, die der Kluge Von selbst nicht leicht betreten würde.

_Nathan der Weise_, iii. 10.]

[Footnote 35: _Reflections on the French Revolution_, Works (ed. 1842), i. 414.]

[Footnote 36: _OEuv._ ii. 170.]

[Footnote 37: No. 111.]

[Footnote 38: _OEuv._ ii. 74.]

[Footnote 39: No. 285.]

[Footnote 40: 'A man may as well pretend to cure himself of love by viewing his mistress through the artificial medium of a microscope or prospect, and beholding there the coarseness of her skin and monstrous disproportion of her features, as hope to excite or moderate any passion by the artificial arguments of a Seneca or an Epictetus.'--Hume's _Essays_ (xviii. _The Sceptic_).]

[Footnote 41: _OEuv._ i. 163.]

[Footnote 42: Nos. 296-298, 148.]

[Footnote 43: _Sur le Libre Arbitre_. _OEuv._ i. 199.]

[Footnote 44: _Politique Positive_, iii. 589.]

[Footnote 45: _Ib._ i. 194.]

[Footnote 46: _Politique Positive_, 205.]

[Footnote 47: _Ib._ 206, 207.]

[Footnote 48: No. 330.]

[Footnote 49: Nos. 462, 463.]

[Footnote 50: _Correspondance_. _OEuv._ ii. 163.]

[Footnote 51: _OEuv._ i. 310.]

[Footnote 52: _OEuv._ i. 325.]

[Footnote 53: _OEuv._ i. 326.]

[Footnote 54: No. 236.]

[Footnote 55: _OEuv_. ii. 188.]

End of Project Gutenberg's Critical Miscellanies (Vol 2 of 3), by John Morley