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The progress of man by the education of minds, -- there is no safety but in that. Teach! Learn! All the revolutions of the future are enclosed and embedded in this phrase: Gratuitous and obligatory instruction.
It is by the unfoloding of works of the highest order that this vast intellectual teaching should be crowned. At the top the men of genius.
Wherever there is a gathering of men, there ought to be in a special place, a public expositor of the great thinkers.
By a great thinker we mean a benificent thinker.
The perpetual presence of the beautiful in their works maintains poets at the summit of teaching.
No one can foresee the quantity of light which will be brought forth by letting the people be in communication with men of genius. This combination of the hearts of the people with the heart of the poet will be the Voltaic pile of civilization.
Will the people understand this magnificent teaching? Certainly. We know of nothing too lofty for the people. The people are a great soul. Have you ever gone on a fête-day to a theatre open gratuitously to all? What do you think of the auditory? Do you know of any other more spontaneous and intelligent? Do you know, even in the forest, of a vibration more profound? The court of Versailles admires like a well-drilled regiment; the people throw themselves passionately into the beautiful. They pack together, crowd, amalgamate, combine, and knead themselves into the theatre,--a living paste that the poet is about to mould. The powerful thumb of Molière will presently make its mark on it; the nail of Corneille will scratch this ill-shaped heap. Whence does that heap come? Whence does it proceed? From the Courtille, from the Porcherons, from the Cunette; it is shoeless, it is bare-armed, it is ragged. Silence! This is the human block.
The house is crowded, the vast multitude looks, listens, loves; all consciences, deeply moved, throw off their inner fire; all eyes glisten; the huge beast with a thousand heads is there,--the Mob of Burke, the Plebs of Titus Livius, the Fex urbis of Cicero. It caresses the beautiful; smiling at it with the grace of a woman. It is literary in the most refined sense of the word; nothing equals the delicacy of this monster. The tumultuous crowd trembles, blushes, palpitates. Its modesty is surprising; the crowd is a virgin. No prudery however; this brute is not brutal. Not a sympathy escapes it; it has in itself the whole keyboard, from passion to irony, from sarcasm to sobbing. Its compassion is more than compassion; it is real mercy. God is felt in it. All at once the sublime passes, and the sombre electricity of the abyss heaves up suddenly all this pile of hearts and entrails; enthusiasm effects a transfiguration. And now, is the enemy at the gates, is the country in danger? Appeal to that populace, and it would enact the sublime drama of Thermopylæ. Who has called forth such a metamorphosis? Poetry.
The multitude (and in this lies their grandeur) are profoundly open to the ideal. When they come in contact with lofty art they are pleased, they shudder. Not a detail escapes them. The crowd is one liquid and living expanse capable of vibration. A mass is a sensitive plant. Contact with the beautiful agitates ecstatically the surface of multitudes,--sure sign that the depth is sounded. A rustling of leaves, a mysterious breath, passes, the crowd trembles under the sacred insufflation of the abyss.
And even where the man of the people is not in the crowd, he is yet a good hearer of great things. His ingenuousness is honest, his curiousity healthy. Ignorance is a longing. His near connection with Nature renders him subject to the holy emotion of the true. He has, toward poetry, secret natural desires which he does not suspect himself. All the teachings are due to the people. The more divine the light, the more it is made for this simple soul. We would have in the villages a pulpit from which Homer whould be explained to the peasants.
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