labours for the acquisition and ordering of knowledge, in the same direction towards the great outer world of nature, and towards the great inner world of nature in the human breast. His criticisms on the paintings of each year, mediocre as the paintings were, are admirable even now for their richness and freshness. If Diderot had been endowed with emotional tenacity, as he was with tenacity of understanding and of purpose, the student of the eighteenth century would probably have been spared the not perfectly agreeable task of threading a way along the sinuosities of the character and work of Rousseau. But Rousseau had what Diderot lacked-sustained ecstatic moods, and fervid trances; his literary gesture was so commanding, his apparel so glistening, his voice so rich in long-drawn notes of plangent vibration. His words are the words of a prophet; a prophet, it is understood, who had lived in Paris, and belonged to the eighteenth century, and wrote in French instead of Hebrew. The mischief of his work lay in this, that he raised feeling, now passionate, now quietist, into the supreme place which it was to occupy alone, and not on an equal throne and in equal alliance with understanding. Instead of supplementing reason, he placed emotion as its substitute. And he made this evil doctrine come from the lips of a fictitious character, who stimulated fancy and fascinated imagination. Voltaire laughed at the baisers acres of Madame de Wolmar, and declared that a criticism of the Marquis of Ximénès had crushed the wretched romance.1 But Madame de Wolmar was so far from crushed, that she turned the flood of feeling which her own charms, passion, remorse, and conversion had raised, in a direction that Voltaire abhorred, and abhorred in vain.

It is after the marriage of Julie to Wolmar that the action of the story takes the turn which sensible men like Voltaire found laughable. Saint Preux is absent with Admiral Anson for some years. On his return to Europe he is speedily invited by the sage

1 Corr., Mar. 3, and Mar. 19, 1761. The criticisms of Ximénès, a thoroughly mediocre person in all respects, were entirely literary, and were directed against the too strained and highly coloured quality of the phrases,-"baisers âcres ́among them.

Wolmar, who knows his past history perfectly well, to pay them a visit. They all meet with leapings on the neck and hearty kisses, the unprejudiced Wolmar preserving an open, serene, and smiling air. He takes his young friend to a chamber, which is to be reserved for him and for him only. In a few days he takes an opportunity of visiting some distant property, leaving his wife and Saint Preux together, with the sublime of magnanimity. At the same time he confides to Claire his intention of entrusting to Saint Preux the education of his children. All goes perfectly well, and the household presents a picture of contentment, prosperity, moderation, affection, and evenly diffused happiness, which in spite of the disagreeableness of the situation is even now extremely charming. There is only one cloud. Julie is devoured by a source of hidden chagrin. Her husband, "so sage, so reasonable, so far from every kind of vice, so little under the influence of human passions, is without the only belief that makes virtue precious, and in the innocence of an irreproachable life he carries at the bottom of his heart the frightful peace of the wicked." He is an atheist. Julie is now a pietist, locking herself for hours in her chambers, spending days in self-examination and prayer, constantly reading the pages of the good Fénelon.* "I fear," she writes to Saint Preux, "that you do not gain all you might from religion in the conduct of your life, and that philosophic pride disdains the simplicity of the Christian. You believe prayers to be of scanty service. That is not, you know, the doctrine of Saint Paul, nor what our Church professes. We are free, it is true, but we are ignorant, feeble, prone to ill. And whence should light and force come, if not from him who is their very well-spring? . . . . Let us be humble, to be sage; let us see our weakness, and we shall be strong." This was the opening of the deistical reaction; it was thus, associated with everything that struck imagination and moved the sentiment of his readers, that Rousseau brought back those sophistical conclusions which Pascal had drawn from premisses of dark profound truth, and that enervating displacement of reason by celestial contemplation, which Fénelon had once made beautiful by the persuasion of

1

1 Nouv. Hel., V. v. 115.

2 VI. vii.

3 VI. vi.

virtuous example. He was justified in saying, as he afterwards did, that there was nothing in the Savoyard Vicar's Profession of Faith which was not to be found in the letters of Julie. These were the effective preparations for that more famous manifesto; they surrounded belief with all the attractions of an interesting and sympathetic preacher, and set it to a harmony of circumstance that touched softer fibres.

For, curiously enough, while the first half of the romance is a scene of disorderly passion, the second is the glorification of the family. A modern writer of genius has inveighed with whimsical bitterness against the character of Wolmar,-supposed, we may notice in passing, to be partially drawn from D'Holbach,—a man performing so long an experiment on these two souls, with the terrible curiosity of a surgeon engaged in vivisection.' It was, however, much less difficult for contemporaries than it is for us to accept so unwholesome and prurient a situation. They forgot all the evil that was in it, in the charm of the account of Wolmar's active, peaceful, frugal, sunny household. The influence of this was immense. It may be that the overstrained scene where Saint Preux waits for Julie in her room, suggested the far lovelier passage of Faust in the chamber of the hapless Margaret. But we may, at least, be sure that Werther (1774) would not have found Charlotte cutting bread and butter, if Saint Preux had not gone to see Julie take cream and cakes with her children and her female servants. And perhaps the other and nobler Charlotte of the Wahlverwandtschaften (1809) would not have detained us so long with her moss hut, her terrace, her park prospect, if Julie had not had her elysium, where the sweet freshness of the air, the cool shadows, the shining verdure, flowers diffusing fragrance and colour, water running with soft whisper, and the song of a thousand birds, reminded the returned traveller of Tinian and Juan Fernandez. There is an animation, a variety, an accuracy, a realistic brightness in this picture, which will always make it enchanting, even to those who cannot make their way through any other letter in the New Heloisa. Such qualities place it as an idyllic piece

3

1 Michelet Louis XV. et Louis XVI., p. 58.

2 See Hettner >

turgeschichte, ii. 486.

3 IV. xi.

2

far above such pieces in Goethe's two famous romances. They have a clearness and spontaneous freshness which are not among the bountiful gifts of Goethe. There are other admirable landscapes in the New Heloïsa, though not too many of them, and the minute and careful way in which Rousseau made their features real to himself, is accidentally shown in his urgent prayer for exactitude in the engraving of the striking scene where Saint Preux and Julie visit the monuments of their old love for one another.1 "I have traversed all Rousseau's ground with the Heloïsa before me," said Byron, "and am struck to a degree I cannot express, with the force and accuracy of his descriptions and the beauty of their reality." They were memories made true by long dreaming, by endless brooding. The painter lived with these scenes ever present to the inner eye. They were his real world, of which the tamer world of meadow and woodland actually around him only gave suggestion. He thought of the green steeps, the rocks, the mountain pines, the waters of the lake, "the populous solitude of bees and birds," as of some divine presence, too sublime for personality. And they were always benign, standing in relief with the malignity or folly of the hurtful insect, Man. He was never a manichæan towards nature. him she was all good and bounteous. The demon forces that so fascinated Byron, were to Rousseau invisible. These were the compositions that presently inspired the landscapes of Paul and Virginia (1788), of Atala and René (1801), and of Obermann (1804), as well as those punier imitators who resemble their masters as the hymns of a methodist negro resemble the psalms of David. They were the outcome of eager and spontaneous feeling for nature, and not the mere hackneyed common-form and inflated description of the literary pastoral.'

Το

2 In 1816. Moore's Life, iii. 247; also 285. And the note to the stanzas in the Third Canto,-a note curious for a slight admixture of transcendentalism, so rare a thing with Byron, who, sentimental though he was, usually rejoiced in a truly Voltairean common sense.

3 "The present fashion in France, of passing some time in the country, is new; at this time of the year, and for many weeks past, Paris is, comparatively speaking, empty. Everybody who has a country seat is at it, and such as have

1

.

This leads to another great and important distinction to be drawn between Rousseau and the school whom in other respects he inspired. The admirable Sainte Beuve perplexes one by his strange remark, that the union of the poetry of the family and the hearth with the poetry of nature is essentially wanting to Rousseau. It only shows that the great critic had for the moment forgotten the whole of the second part of the New Heloïsa, and his failure to identify Cowper's allusion to the matinée à l'anglaise certainly proves that he had at any rate forgotten one of the most striking and delicious scenes of the hearth in French literature.* The tendency to read Rousseau only in the Byronic sense is one of those foregone conclusions which are constantly tempting the critic to travel out of his record. Rousseau assuredly had a Byronic side, but he is just as often a Cowper done into splendid prose. His pictures are full of social animation and domestic order. He had exalted the simplicity of the savage state in his Discourses, but when he came to constitute an ideal life, he found it in a household that was more, and not less, systematically none visit others who have. This remarkable revolution in the French manners is certainly one of the best customs they have taken from England; and its introduction was effected the easier, being assisted by the magic of Rousseau's writings. Mankind are much indebted to that splendid genius, who, when living, was hunted from country to country, to seek an asylum, with as much venom as if he had been a mad dog; thanks to the vile spirit of bigotry, which has not received its death wound. Women of the first fashion in France are now ashamed of not nursing their own children; and stays are universally proscribed from the bodies of the poor infants, which were for so many ages tortured to them, as they are still in Spain. The country residence may not have effects equally obvious; but they will be no less sure in the end, and in all respects beneficial to every class in the state." Arthur Young's Travels, i. 72.

1 Causeries, xi. 195.

Nouv. Hél., V. iii. "You remember Rousseau's description of an English morning: such are the mornings I spend with these good people."—Cowper to Joseph Hill, Oct. 25, 1765 Works, iii. 269. In a letter to William Unwin (Sept. 21, 1779), speaking of his being engaged in mending windows, he says, "Rousseau would have been charmed to have seen me so occupied, and would have exclaimed with rapture that he had found the Emilius who, he supposed, had subsisted only in his own idea." For a description illustrative of the likeness between Rousseau and Cowper in their feeling for nature, see letter to Newton (Sept. 18, 1784, v. 78), and compare it with the description of Les Charmettes, making proper allowance for the colour of prose.