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THE BEST

_of the_

WORLD'S CLASSICS

RESTRICTED TO PROSE

HENRY CABOT LODGE

_Editor-in-Chief_

FRANCIS W. HALSEY

_Associate Editor_

With an Introduction, Biographical

and Explanatory Notes, etc.

IN TEN VOLUMES

Vol. VIII

CONTINENTAL EUROPE--II

FUNK & WAGNALLS COMPANY

NEW YORK AND LONDON

COPYRIGHT, 1909, BY

FUNK & WAGNALLS COMPANY

* * * * *

The Best of the World's Classics

VOL. VIII

CONTINENTAL EUROPE--II

* * * * *

CONTENTS

VOL. VIII--CONTINENTAL EUROPE--II

FRANCE--CONTINUED 1805-1909

ALEXIS DE TOCQUEVILLE--(Born in 1805, died in 1859.)

The Tyranny of the American Majority. (From Chapter XV of "Democracy in America." Translated by Henry Reeve)

ALFRED DE MUSSET--(Born in 1810, died in 1857.)

Titian's Son After a Night at Play. (From "Titian's Son." Translated by Erie Arthur Bell)

THEOPHILE GAUTIER--(Born in 1811, died in 1872.)

Pharaoh's Entry into Thebes. (From the "Romance of a Mummy." Translated by M. Young)

GUSTAVE FLAUBERT--(Born in 1821, died in 1880.)

Yonville and Its People. (From Part II of "Madame Bovary." Translated by Eleanor Marx-Aveling)

JOSEPH ERNEST RENAN--(Born in 1823, died in 1892.)

An Empire in Robust Youth. (From the "History of the Origins of Christianity.")

HIPPOLYTE ADOLPHE TAINE--(Born in 1828, died in 1893.)

I Thackeray as a Satirist. (From Book V, Chapter II, of the "History of English Literature." Translated by H. van Laun)

II When the King Got up for the Day. (From "The Ancient Régime." Translated by John Durand)

EMILE ZOLA--(Born in 1840, died in 1902.)

Glimpses of Napoleon III in Time of War. (From "La Débâcle." Translated by E. P. Robins)

ALPHONSE DAUDET--(Born in 1840, died in 1897.)

I A Great Man's Widow. (From "Artists' Wives." Translated by Laura Ensor)

II My First Dress Coat. (From "Thirty Years of Paris." Translated by Laura Ensor)

GUY DE MAUPASSANT--(Born in 1850, died in 1893.)

Madame Jeanne's Last Days. (From the last chapter of "A Life." Translated by Eric Arthur Bell)

GERMANY

1483-1859

MARTIN LUTHER--(Born in 1483, died in 1546.)

Some of His Table Talk and Sayings. (From the "Table Talk.")

GOTTHOLD E. LESSING--(Born in 1729, died in 1781.)

I Poetry and Painting Compared. (From the preface to the "Laocoön." Translated by E. C. Beasley and Helen Zimmern)

II Of Suffering Held in Restraint. (From Chapter I of the "Laocoön." Translated by Beasley and Zimmern)

JOHANN WOLFGANG VON GOETHE--(Born in 1749, died in 1832.)

I On First Reading Shakespeare. (From "Wilhelm Meister." Translated by Thomas Carlyle)

II The Coronation of Joseph II. (From Book XII of the "Autobiography." Translated by John Oxenford)

FRIEDRICH VON SCHILLER--(Born in 1759, died in 1808.)

I The Battle of Lutzen. (From the "History of the Thirty Years' War." Translated by A. J. W. Morrison)

II Philip II and the Netherlands. (From the introduction to the "History of the Revolt of the Netherlands." Translated by Morrison)

WILHELM VON SCHLEGEL--(Born in 1767, died in 1845.)

Shakespeare's "Macbeth." (From the "Lectures on Dramatic Art and Literature." Translated by John Black, revised by A. J. W. Morrison)

ALEXANDER VON HUMBOLDT--(Born in 1769, died in 1859.)

An Essay on Man. (From his "General Review of Natural Phenomena." in Volume I of "Cosmos." Translated by E. C. Otto and W. S. Dallas)

HEINRICH HEINE--(Born in 1799, died in 1856.)

Reminiscences of Napoleon. (From Chapters VII, VIII and IX of "Travel Pictures." Translated by Francis Storr)

ITALY

1254-1803

MARCO POLO--(Born in 1254, died in 1324.)

A Description of Japan. (From the "Travels.")

DANTE ALIGHIERI--(Born in 1265, died in 1321.)

I That Long Descent Makes No Man Noble. (From Book IV, Chapter XIV of "The Banquet." Translated by Katharine Hillard)

II Of Beatrice and Her Death. (From "The New Life." Translated by Charles Eliot Norton)

FRANCESCO PETRARCH--(Born in 1304, died in 1374.)

Of Good and Evil Fortune. (From the "Treatise on the Remedies of Good and Bad Fortune.")

GIOVANNI BOCCACIO--(Born probably in 1313, died in 1375.)

The Patient Griselda. (From the "Decameron.")

NICCOLO MACHIAVELLI--(Born in 1469, died in 1527.)

Ought Princes to Keep Their Promises? (From Chapter XVIII of "The Prince.")

BENVENUTO CELLINI--(Born in 1500, died in 1571.)

The Casting of His "Perseus and Medusa." (From the "Autobiography." Translated by William Roscoe)

GIORGIO VASARI--(Born in 1511, died in 1574.)

Of Raphael and His Early Death. (From "The Lives of the Most Famous Painters, Sculptors and Architects." Translated by Mrs. Jonathan Foster)

CASANOVA DE SEINGALT--(Born in 1725, died probably in 1803.)

His Interview with Frederick the Great. (From the "Memoirs.")

OTHER COUNTRIES

1465-1909

DESIDERIUS ERASMUS--(Born in 1465, died in 1536.)

Specimens of His Wit and Wisdom. (From various books)

MIGUEL DE CERVANTES--(Born in 1547, died in 1616.)

I The Beginnings of Don Quixote's Career. (From "Don Quixote." Translated by John Jarvis)

II Of How Don Quixote Died. (From "Don Quixote." Translated by John Jarvis)

HANS CHRISTIAN ANDERSEN--(Born in 1805, died in 1875.)

The Emperor's New Clothes. (From the "Tales.")

IVAN SERGEYEVITCH TURGENEFF--(Born in 1818, died in 1883.)

Bazarov's Death. (From "Fathers and Children." Translated by Constance Garnett)

HENRIK IBSEN--(Born in 1828, died in 1906.)

The Thought Child. (From "The Pretenders." Translated by William Archer)

COUNT LEO TOLSTOY--(Born in 1828.)

Shakespeare Not a Great Genius. (From "A Critical Essay on Shakespeare." Translated by V. Tchertkoff and I. F. M.)

* * * * *

FRANCE (Continued)

1805-1909

ALEXIS DE TOCQUEVILLE

Born in Paris in 1805, died in 1859; studied law, taking his degree in 1826; traveled in Italy and Sicily; in 1831 visited the United States under a commission to study the penitentiary system; returning published a book on the subject which was crowned by the French Academy; from private notes taken in America then wrote his masterpiece, "Democracy in America," which secured his election to the Academy in 1841; spent some years in public life and then retired in order to travel and write.

THE TYRANNY OF THE AMERICAN MAJORITY[1]

I hold it to be an impious and execrable maxim that, politically speaking, the people has a right to do whatever it pleases; and yet I have asserted that all authority originates in the will of the majority. Am I then in contradiction with myself?

[Footnote 1: From Chapter XV of "Democracy in America." Translated by Henry Reeve.]

A general law, which bears the name of justice, has been made and sanctioned not only by a majority of this or that people, but by a majority of mankind. The rights of every people are consequently confined within the limits of what is just. A nation may be considered in the light of a jury which is empowered to represent society at large and to apply the great and general law of justice. Ought such a jury, which represents society, to have more power than the society in which the law it applies originates?

When I refuse to obey an unjust law, I do not contest the right which the majority has of commanding, but I simply appeal from the sovereignty of the people to the sovereignty of mankind. It has been asserted that a people can never entirely outstep the boundaries of justice and of reason in those affairs which are more peculiarly its own; and that consequently, full power may fearlessly be given to the majority by which it is represented. But this language is that of a slave.

A majority, taken collectively, may be regarded as a being whose opinions, and most frequently whose interests are opposed to those of another being, which is styled a minority. If it be admitted that a man possessing absolute power may misuse that power by wronging his adversaries, why should a majority not be liable to the same reproach? Men are not apt to change their characters by agglomerating; nor does their patience in the presence of obstacles increase with the consciousness of their strength. And for these reasons I can never willingly invest any number of my fellow creatures with that unlimited authority which I should refuse to any one of them.

I do not think that it is possible to combine several principles in the same government so as at the same time to maintain freedom and really to oppose them to one another. The form of government which is usually termed mixt has always appeared to me to be a mere chimera. Accurately speaking, there is no such thing as a mixt government, with the meaning usually given to that word; because in all communities some one principle of action may be discovered which preponderates over the others. England in the last century--which has been more especially cited as an example of this form of government--was in point of fact an essentially aristocratic state, altho it comprized very powerful elements of democracy; for the laws and customs of the country were such that the aristocracy could not but preponderate in the end, and subject the direction of public affairs to its own will. The error arose from too much attention being paid to the actual struggle that was going on between the nobles and the people, without considering the probable issue of the contest, which was really the important point. When a community actually has a mixt government--that is to say, when it is equally divided between two adverse principles--it must either pass through a revolution or fall into complete dissolution.

I am therefore of opinion that some one social power must always be made to predominate over the others; but I think that liberty is endangered when this power finds no obstacle which can retard its course, and force it to moderate its own vehemence.

Unlimited power is in itself a bad and dangerous thing. Human beings are not competent to exercise it with discretion. God only can be omnipotent, because His wisdom and His justice are always equal to His power. But no power on earth is so worthy of honor for itself that I would consent to admit its uncontrolled and all-predominant authority. When I see that the right and the means of absolute command or of reverential obedience to the right which it represents are conferred on a people or upon a king, upon an aristocracy or a democracy, a monarchy or a republic, I recognize the germ of tyranny; and I journey onward to a land of more hopeful institutions.

In my opinion, the main evil of the present democratic institutions of the United States does not arise, as is often asserted in Europe, from their weakness, but from their irresistible strength. I am not so much alarmed at the excessive liberty which reigns in that country as at the very inadequate securities which exist against tyranny.

When an individual or a party is wronged in the United States, to whom can he apply for redress? If to public opinion, public opinion constitutes the majority; if to the legislature, it represents the majority, and implicitly obeys its instructions; if to the executive power, it is appointed by the majority, and is a passive tool in its hands. The public troops consist of the majority under arms; the jury is the majority invested with the right of hearing judicial cases; and in certain cases, even the judges are elected by the majority. However iniquitous or absurd the evil of which you complain may be, you must submit to it as well as you can.

If, on the other hand, a legislative power could be so constituted as to represent the majority without necessarily being the slave of its passions, an executive so as to retain a certain degree of uncontrolled authority, and a judiciary so as to remain independent of the other two powers, a government would be formed which would still be democratic, without incurring any risk of tyranny.

I do not say that there is a frequent use of tyranny in America at the present day; but I maintain that no sure barrier is established against it, and that the causes which mitigate the government are to be found in the circumstances and the manners of the country more than in its laws.

ALFRED DE MUSSET

Born in 1810, died in 1857; educated at the College of Henry II in Paris; published "Tales of Spain and Italy," a volume of verse, in 1829; followed by other collections of verse in 1831 and 1832; went to Italy in 1833 with George Sand, with whom he quarreled in Venice and returned to France; published "Confessions of a Child of the Century" in 1836; wrote stories and plays as well as poems; elected to the Academy in 1852.

TITIAN'S SON AFTER A NIGHT AT PLAY[2]

In the month of February of the year 1580 a young man was crossing the Piazzeta at Venice at early dawn. His clothes were in disorder, his cap, from which hung a beautiful scarlet feather, was pulled down over his ears. He was walking with long strides toward the banks of the Schiavoni, and his sword and cloak were dragging behind him, while with a somewhat disdainful foot he picked his way among the fishermen lying asleep on the ground. Having arrived at the bridge of Paille, he stopt and looked around him. The moon was setting behind the Giudecca and the dawn was gilding the Ducal Palace. From time to time thick smoke or a brilliant light could be seen from some neighboring palace. Planks, stones, enormous blocks of marble, and debris of every kind obstructed the Canal of the Prisons. A recent fire had just destroyed the home of a patrician which lined its banks. A volley of sparks shot up from time to time, and by this sinister light an armed soldier could be seen keeping watch in the midst of the ruins.

[Footnote 2: From De Musset's story, "Titian's Son." Translated for this collection by Eric Arthur Bell. Titian's son, who was named Pomponio, had been destined for the Church, but proving wasteful and dissipated, his father caused the benefice intended for him to be transferred to a nephew. Through the death of Titian's other son Orazio, an artist of repute, who died soon after Titian and during the same plague, Pomponio inherited the handsome fortune his father had left and completely squandered it.]

Our young man, however, did not seem to be imprest either with this spectacle of destruction or with the beauty of the sky, tinged with the rosy colors of the dawning day. He looked for some time at the horizon, as if to ease his tired eyes; but the brightness of the dawn seemed to produce in him a disagreeable effect, for he wrapt himself in his cloak and pursued his way at a run. He soon stopt again at the door of a palace, where he knocked. A valet, holding a torch in his hand, admitted him immediately. As he entered he turned round, and casting one more glance at the sky, exclaimed, "By Bacchus! my carnival has cost me dear."

This young man was called Pomponio Filippo Vecellio. He was the second son of Titian, a youth full of spirit and imagination who had aroused in his father the most lofty expectations, but whose passion for cards kept him in continual dissipation. It was only four years before that the great painter and his eldest son, Orazio, had died almost at the same time, and young Pippo in those four years had already dissipated the best part of the immense fortune which the double heritage had given him. Instead of cultivating the talents which he possest by nature and sustaining the glory of his name, he passed his days in sleeping and his nights in playing at the house of a certain Countess Orsini, or at least so-called countess, who made a profession of ruining the gilded youth of Venice. Every night there assembled at her house a large company composed of nobles and courtezans; there one supped and played, and as one did not pay for one's supper, it goes without saying that the dice helped to indemnify the mistress of the house. Meanwhile, the sequins and the Cyprian wine began to flow freely, loving glances were exchanged, and the victims, drunk with love and wine, lost their money and their reason.

It is from this dangerous resort that we have seen the hero of this story emerge. He had met with more than one loss during the night. Besides having emptied his pockets at cards; the only picture he had ever finished, one that the connoisseurs had pronounced excellent, had just been destroyed in a fire in the Dolfino palace. It was an historical subject, treated with a spirit and a sureness of touch almost worthy of Titian himself. Sold to a rich Senator, this canvas had met with the same fate as a great number of other previous works of art; the carelessness of a valet had turned it to ashes. But this Pippo counted the least of his misfortunes; he was only thinking of the unlucky star that had lately been following him with unusual insistence and of the throws of dice it had made him lose.

On entering his house, he began by taking off the coverlet which lay on his table and counting the money left in his drawer; then, as he was of a nature naturally gay and optimistic, after he had undrest he sat at the window in his night robe. Seeing that it was almost daylight, he began to ponder whether he would close the shutters and get into bed, or get up like everybody else. It was a long time since he had seen the sun in the east, and he found the sky more beautiful than ever. Before deciding whether to wake up or go to sleep, he took his chocolate on the balcony, in an effort to fight off his drowsiness. The moment his eyes closed, he would see a table, many trembling hands and pale faces, and would hear again the sound of the cornets. "What fatal luck," he murmured. "Is it possible that one can lose with fifteen?" And he saw his habitual opponent, old Vespiano Memmo, throwing eighteen and taking up the money piled on the table.

He promptly opened his eyelids to get rid of the bad dream, and looked at the young girls passing on the quay. He seemed to see in the distance a masked woman; and was astonished, altho it was the time of carnival, for poor people do not go masked, and it was strange that at such an hour a Venetian lady should be out alone on foot. He perceived, however, that what he had taken for a mask was the face of a negress. On getting a nearer look at her, he saw she was not badly formed. She walked very quickly, and a puff of wind which forced her checkered skirt close to her limbs, showed her to have a graceful figure. Pippo leaned over the balcony and saw not without surprize that the negress knocked at his door.

The porter failed to open it.

"What do you want?" cried the young man. "Is it with me that your business lies, brunette? My name is Vecellio, and if they are going to keep you waiting, I will come and let you in myself."

The negress lifted her head.

"Your name is Pomponio Vecellio?"

"Yes, or Pippo, whichever you like."

"You are the son of Titian?"

"At your service. What can I do to please you?"

Having cast on Pippo a rapid and curious glance, the negress took a few steps backward, and skilfully threw up into the balcony a little box rolled in paper, and then promptly fled, turning round from time to time. Pippo picked up the box, opened it, and found a pretty purse wrapt in cotton. He rightly suspected that he might find under the cotton a note that would explain this adventure. The note was found indeed, but it was as mysterious as the rest, for it contained only these words: "Do not spend too readily what I enclose herein; when you leave home, charge me with one piece of gold. It is enough for one day; and if in the evening you have any of it left, however little, it may be you will find some poor person who will thank you for it."

The young man examined the box in a hundred different ways, scrutinized the purse, looked once more on to the quay, and at length realized that he had learned all he could. "Of a truth," thought he, "this is a strange present, but it comes at a cruelly awkward moment. The advice they give me is good, but it is too late to tell people to swim when they are already at the bottom of the Adriatic. Who the devil could have sent me this?"

THEOPHILE GAUTIER

Born in 1811, died in 1872; studied painting in Paris, but soon joined the romantic literary movement; his first book, "Poèsies," published in 1830; an art and dramatic critic 1837-45; traveled in Spain, Holland, Italy, Greece and Russia in 1840-58, publishing books describing those countries and novels with them for scenes; many other novels followed, with occasional collections of verse and criticism.

PHARAOH'S ENTRY INTO THEBES[3]

At length their chariot reached the maneuvering-ground, an immense enclosure, carefully leveled, used for splendid military displays. Terraces, one above the other, which must have employed for years the thirty nations led away into slavery, formed a frame _en relief_ for the gigantic parallelogram; sloping walls built of crude bricks lined these terraces; their tops were covered, several rows deep, by hundreds of thousands of Egyptians, whose white or brightly colored costumes blazed in the sun with that perpetually restless movement which characterizes a multitude, even when it appears motionless; behind this line of spectators the cars, chariots, and litters, with their drivers, grooms, and slaves, looked like the encampment of an emigrating nation, such was their immense number; for Thebes, the marvel of the ancient world, counted more inhabitants than did some kingdoms.

[Footnote 3: From the "Romance of a Mummy." Translated by M. Young, as authorized by Gautier.]

The fine, even sand of the vast arena, bordered with a million heads, gleamed like mica dust beneath the light, falling from a sky as blue as the enamel on the statuettes of Osiris. On the south side of the field the terraces were broken, making way for a road which stretched toward Upper Ethiopia, the whole length of the Libyan chain. In the corresponding corner, the opening in the massive brick walls prolonged the roads to the Rhamses-Maïamoun palace....

A frightful uproar, rumbling, deep, and mighty as that of an approaching sea, arose in the distance, and drowned the thousand murmurs of the crowd, like the roar of the lion which hushes the barking of the jackals. Soon the noise of instruments of music could be distinguished amidst this terrestrial thunder, produced by the chariot wheels and the rhythmic pace of the foot-soldiers. A sort of reddening cloud, like that raised by the desert blasts, filled the sky in that direction, yet the wind had gone down; there was not a breath of air, and the smallest branches of the palm-trees hung motionless, as if they had been carved on a granite capital; not a hair moved on the women's moist foreheads, and the fluted streamers of their head-dresses hung loosely down their backs. This powdery fog was caused by the marching army, and hung over it like a fallow cloud.

The tumult increased; the whirlwinds of dust opened, and the first files of musicians entered the immense arena, to the great satisfaction of the multitude, who in spite of its respect for his Majesty were beginning to tire of waiting beneath a sun which would have melted any other skulls than those of the Egyptians. The advance guard of musicians halted for several instants; colleges of priests, deputations of the principal inhabitants of Thebes, crossed the maneuvering-ground to meet the Pharaoh, and arranged themselves in a row in postures of the most profound respect, in such manner as to give free passage to the procession. The band, which alone was a small army, consisted of drums, tabors, trumpets, and sistras.