Complete Short Works of George Meredith Part 77

Millamant side by side with Celimene is an example of how far the realistic painting of a character can be carried to win our favour; and of where it falls short. Celimene is a woman's mind in movement, armed with an ungovernable wit; with perspicacious clear eyes for the world, and a very distinct knowledge that she belongs to the world, and is most at home in it. She is attracted to Alceste by her esteem for his honesty; she cannot avoid seeing where the good sense of the man is diseased.

Rousseau, in his letter to D'Alembert on the subject of the Misanthrope, discusses the character of Alceste, as though Moliere had put him forth for an absolute example of misanthropy; whereas Alceste is only a misanthrope of the circle he finds himself placed in: he has a touching faith in the virtue residing in the country, and a critical love of sweet simpleness. Nor is he the princ.i.p.al person of the comedy to which he gives a name. He is only pa.s.sively comic. Celimene is the active spirit. While he is denouncing and railing, the trial is imposed upon her to make the best of him, and control herself, as much as a witty woman, eagerly courted, can do. By appreciating him she practically confesses her faultiness, and she is better disposed to meet him half.way than he is to bend an inch: only she is une ame de vingt ans, the world is pleasant, and if the gilded flies of the Court are silly, uncompromising fanatics have their ridiculous features as well. Can she abandon the life they make agreeable to her, for a man who will not be guided by the common sense of his cla.s.s; and who insists on plunging into one extreme--equal to suicide in her eyes--to avoid another? That is the comic question of the Misanthrope. Why will he not continue to mix with the world smoothly, appeased by the flattery of her secret and really sincere preference of him, and taking his revenge in satire of it, as she does from her own not very lofty standard, and will by and by do from his more exalted one?

Celimene is worldliness: Alceste is unworldliness. It does not quite imply unselfishness; and that is perceived by her shrewd head. Still he is a very uncommon figure in her circle, and she esteems him, l'homme aux rubans verts, 'who sometimes diverts but more often horribly vexes her,' as she can say of him when her satirical tongue is on the run.

Unhappily the soul of truth in him, which wins her esteem, refuses to be tamed, or silent, or unsuspicious, and is the perpetual obstacle to their good accord. He is that melancholy person, the critic of everybody save himself; intensely sensitive to the faults of others, wounded by them; in love with his own indubitable honesty, and with his ideal of the simpler form of life befitting it: qualities which const.i.tute the satirist. He is a Jean Jacques of the Court. His proposal to Celimene when he pardons her, that she should follow him in flying humankind, and his frenzy of detestation of her at her refusal, are thoroughly in the mood of Jean Jacques. He is an impracticable creature of a priceless virtue; but Celimene may feel that to fly with him to the desert: that is from the Court to the country

'Ou d'etre homme d'honneur on ait la liberte,'

she is likely to find herself the companion of a starving satirist, like that poor princess who ran away with the waiting-man, and when both were hungry in the forest, was ordered to give him flesh. She is a fieffee coquette, rejoicing in her wit and her attractions, and distinguished by her inclination for Alceste in the midst of her many other lovers; only she finds it hard to cut them off--what woman with a train does not?--and when the exposure of her naughty wit has laid her under their rebuke, she will do the utmost she can: she will give her hand to honesty, but she cannot quite abandon worldliness. She would be unwise if she did.

The fable is thin. Our pungent contrivers of plots would see no indication of life in the outlines. The life of the comedy is in the idea. As with the singing of the sky-lark out of sight, you must love the bird to be attentive to the song, so in this highest flight of the Comic Muse, you must love pure Comedy warmly to understand the Misanthrope: you must be receptive of the idea of Comedy. And to love Comedy you must know the real world, and know men and women well enough not to expect too much of them, though you may still hope for good.

Menander wrote a comedy called Misogynes, said to have been the most celebrated of his works. This misogynist is a married man, according to the fragment surviving, and is a hater of women through hatred of his wife. He generalizes upon them from the example of this lamentable adjunct of his fortunes, and seems to have got the worst of it in the contest with her, which is like the issue in reality, in the polite world. He seems also to have deserved it, which may be as true to the copy. But we are unable to say whether the wife was a good voice of her s.e.x: or how far Menander in this instance raised the idea of woman from the mire it was plunged into by the comic poets, or rather satiric dramatists, of the middle period of Greek Comedy preceding him and the New Comedy, who devoted their wit chiefly to the abuse, and for a diversity, to the eulogy of extra-mural ladies of conspicuous fame.

Menander idealized them without purposely elevating. He satirized a certain Thais, and his Thais of the Eunuchus of Terence is neither professionally attractive nor repulsive; his picture of the two Andrians, Chrysis and her sister, is nowhere to be matched for tenderness. But the condition of honest women in his day did not permit of the freedom of action and fencing dialectic of a Celimene, and consequently it is below our mark of pure Comedy.

Sainte-Beuve conjures up the ghost of Menander, saying: For the love of me love Terence. It is through love of Terence that moderns are able to love Menander; and what is preserved of Terence has not apparently given us the best of the friend of Epicurus. [Greek text which cannot be reproduced] the lover taken in horror, and [Greek text] the damsel shorn of her locks, have a promising sound for scenes of jealousy and a too masterful display of lordly authority, leading to regrets, of the kind known to intemperate men who imagined they were fighting with the weaker, as the fragments indicate.

Of the six comedies of Terence, four are derived from Menander; two, the Hecyra and the Phormio, from Apollodorus. These two are inferior in comic action and the peculiar sweetness of Menander to the Andria, the Adelphi, the Heautontimorumenus, and the Eunuchus: but Phormio is a more das.h.i.+ng and amusing convivial parasite than the Gnatho of the last-named comedy. There were numerous rivals of whom we know next to nothing--except by the quotations of Athenaeus and Plutarch, and the Greek grammarians who cited them to support a dictum--in this as in the preceding periods of comedy in Athens, for Menander's plays are counted by many scores, and they were crowned by the prize only eight times. The favourite poet with critics, in Greece as in Rome, was Menander; and if some of his rivals here and there surpa.s.sed him in comic force, and out-stripped him in compet.i.tion by an appositeness to the occasion that had previously in the same way deprived the genius of Aristophanes of its due reward in Clouds and Birds, his position as chief of the comic poets of his age was unchallenged. Plutarch very unnecessarily drags Aristophanes into a comparison with him, to the confusion of the older poet. Their aims, the matter they dealt in, and the times, were quite dissimilar. But it is no wonder that Plutarch, writing when Athenian beauty of style was the delight of his patrons, should rank Menander at the highest. In what degree of faithfulness Terence copied Menander, whether, as he states of the pa.s.sage in the Adelphi taken from Diphilus, verb.u.m de verbo in the lovelier scenes--the description of the last words of the dying Andrian, and of her funeral, for instance--remains conjectural. For us Terence shares with his master the praise of an amenity that is like Elysian speech, equable and ever gracious; like the face of the Andrian's young sister:

'Adeo modesto, adeo venusto, ut nihil supra.'

The celebrated 'flens quam familiariter,' of which the closest rendering grounds hopelessly on harsh prose, to express the sorrowful confidingness of a young girl who has lost her sister and dearest friend, and has but her lover left to her; 'she turned and flung herself on his bosom, weeping as though at home there': this our instinct tells us must be Greek, though hardly finer in Greek. Certain lines of Terence, compared with the original fragments, show that he embellished them; but his taste was too exquisite for him to do other than devote his genius to the honest translation of such pieces as the above.

Menander, then; with him, through the affinity of sympathy, Terence; and Shakespeare and Moliere have this beautiful translucency of language: and the study of the comic poets might be recommended, if for that only.

A singular ill fate befell the writings of Menander. What we have of him in Terence was chosen probably to please the cultivated Romans; {8} and is a romantic play with a comic intrigue, obtained in two instances, the Andria and the Eunuchus, by rolling a couple of his originals into one.

The t.i.tles of certain of the lost plays indicate the comic illumining character; a Self-pitier, a Self-chastiser, an Ill-tempered man, a Superst.i.tious, an Incredulous, etc., point to suggestive domestic themes.

Terence forwarded ma.n.u.script translations from Greece, that suffered s.h.i.+pwreck; he, who could have restored the treasure, died on the way home. The zealots of Byzantium completed the work of destruction. So we have the four comedies of Terence, numbering six of Menander, with a few sketches of plots--one of them, the Thesaurus, introduces a miser, whom we should have liked to contrast with Harpagon--and a mult.i.tude of small fragments of a sententious cast, fitted for quotation. Enough remains to make his greatness felt.

Without undervaluing other writers of Comedy, I think it may be said that Menander and Moliere stand alone specially as comic poets of the feelings and the idea. In each of them there is a conception of the Comic that refines even to pain, as in the Menedemus of the Heautontimorumenus, and in the Misanthrope. Menander and Moliere have given the princ.i.p.al types to Comedy hitherto. The Micio and Demea of the Adelphi, with their opposing views of the proper management of youth, are still alive; the Sganarelles and Arnolphes of the Ecole des Maris and the Ecole des Femmes, are not all buried. Tartuffe is the father of the hypocrites; Orgon of the dupes; Thraso, of the braggadocios; Alceste of the 'Manlys'; Davus and Syrus of the intriguing valets, the Scapins and Figaros. Ladies that soar in the realms of Rose-Pink, whose language wears the nodding plumes of intellectual conceit, are traceable to Philaminte and Belise of the Femmes Savantes: and the mordant witty women have the tongue of Celimene. The reason is, that these two poets idealized upon life: the foundation of their types is real and in the quick, but they painted with spiritual strength, which is the solid in Art.

The idealistic conceptions of Comedy gives breadth and opportunities of daring to Comic genius, and helps to solve the difficulties it creates.

How, for example, shall an audience be a.s.sured that an evident and monstrous dupe is actually deceived without being an absolute fool? In Le Tartuffe the note of high Comedy strikes when Orgon on his return home hears of his idol's excellent appet.i.te. 'Le pauvre homme!' he exclaims. He is told that the wife of his bosom has been unwell. 'Et Tartuffe?' he asks, impatient to hear him spoken of, his mind suffused with the thought of Tartuffe, crazy with tenderness, and again he croons, 'Le pauvre homme!' It is the mother's cry of pitying delight at a nurse's recital of the feats in young animal gluttony of her cherished infant. After this masterstroke of the Comic, you not only put faith in Orgon's roseate prepossession, you share it with him by comic sympathy, and can listen with no more than a tremble of the laughing muscles to the instance he gives of the sublime humanity of Tartuffe:

'Un rien presque suffit pour le scandaliser, Jusque-le, qu'il se vint l'autre jour accuser D'avoir pris une puce en faisant sa priere, Et de l'avoir tuee avec trop de colere.'

And to have killed it too wrathfully! Translating Moliere is like humming an air one has heard performed by an accomplished violinist of the pure tones without flourish.

Orgon, awakening to find another dupe in Madame Pernelle, incredulous of the revelations which have at last opened his own besotted eyes, is a scene of the double Comic, vivified by the spell previously cast on the mind. There we feel the power of the poet's creation; and in the sharp light of that sudden turn the humanity is livelier than any realistic work can make it.

Italian Comedy gives many hints for a Tartuffe; but they may be found in Boccaccio, as well as in Machiavelli's Mandragola. The Frate Timoteo of this piece is only a very oily friar, compliantly a.s.sisting an intrigue with ecclesiastical sophisms (to use the mildest word) for payment.

Frate Timoteo has a fine Italian priestly pose.

DONNA: Credete voi, che'l Turco pa.s.si questo anno in Italia?

F. TIM.: Se voi non fate orazione, si.

Priestly arrogance and unctuousness, and trickeries and casuistries, cannot be painted without our discovering a likeness in the long Italian gallery. Goldoni sketched the Venetian manners of the decadence of the Republic with a French pencil, and was an Italian Scribe in style.

The Spanish stage is richer in such Comedies as that which furnished the idea of the Menteur to Corneille. But you must force yourself to believe that this liar is not forcing his vein when he piles lie upon lie. There is no preceding touch to win the mind to credulity. Spanish Comedy is generally in sharp outline, as of skeletons; in quick movement, as of marionnettes. The Comedy might be performed by a troop of the corps de ballet; and in the recollection of the reading it resolves to an animated shuffle of feet. It is, in fact, something other than the true idea of Comedy. Where the s.e.xes are separated, men and women grow, as the Portuguese call it, affaimados of one another, famine-stricken; and all the tragic elements are on the stage. Don Juan is a comic character that sends souls flying: nor does the humour of the breaking of a dozen women's hearts conciliate the Comic Muse with the drawing of blood.

German attempts at Comedy remind one vividly of Heine's image of his country in the dancing of Atta Troll. Lessing tried his hand at it, with a sobering effect upon readers. The intention to produce the reverse effect is just visible, and therein, like the portly graces of the poor old Pyrenean Bear poising and twirling on his right hind-leg and his left, consists the fun. Jean Paul Richter gives the best edition of the German Comic in the contrast of Siebenkas with his Lenette. A light of the Comic is in Goethe; enough to complete the splendid figure of the man, but no more.

The German literary laugh, like the timed awakenings of their Barbarossa in the hollows of the Untersberg, is infrequent, and rather monstrous--never a laugh of men and women in concert. It comes of unrefined abstract fancy, grotesque or grim, or gross, like the peculiar humours of their little earthmen. Spiritual laughter they have not yet attained to: sentimentalism waylays them in the flight. Here and there a Volkslied or Marchen shows a national apt.i.tude for stout animal laughter; and we see that the literature is built on it, which is hopeful so far; but to enjoy it, to enter into the philosophy of the Broad Grin, that seems to hesitate between the skull and the embryo, and reaches its perfection in breadth from the pulling of two square fingers at the corners of the mouth, one must have aid of 'the good Rhine wine,'

and be of German blood unmixed besides. This treble-Dutch lumbersomeness of the Comic spirit is of itself exclusive of the idea of Comedy, and the poor voice allowed to women in German domestic life will account for the absence of comic dialogues reflecting upon life in that land. I shall speak of it again in the second section of this lecture.

Eastward you have total silence of Comedy among a people intensely susceptible to laughter, as the Arabian Nights will testify. Where the veil is over women's-faces, you cannot have society, without which the senses are barbarous and the Comic spirit is driven to the gutters of grossness to slake its thirst. Arabs in this respect are worse than Italians--much worse than Germans; just in the degree that their system of treating women is worse.

M. Saint-Marc Girardin, the excellent French essayist and master of critical style, tells of a conversation he had once with an Arab gentleman on the topic of the different management of these difficult creatures in Orient and in Occident: and the Arab spoke in praise of many good results of the greater freedom enjoyed by Western ladies, and the charm of conversing with them. He was questioned why his countrymen took no measures to grant them something of that kind of liberty. He jumped out of his individuality in a twinkling, and entered into the sentiments of his race, replying, from the pinnacle of a splendid conceit, with affected humility of manner: 'YOU can look on them without perturbation--but WE!'... And after this profoundly comic interjection, he added, in deep tones, 'The very face of a woman!' Our representative of temperate notions demurely consented that the Arab's pride of inflammability should insist on the prudery of the veil as the civilizing medium of his race.

There has been fun in Bagdad. But there never will be civilization where Comedy is not possible; and that comes of some degree of social equality of the s.e.xes. I am not quoting the Arab to exhort and disturb the somnolent East; rather for cultivated women to recognize that the Comic Muse is one of their best friends. They are blind to their interests in swelling the ranks of the sentimentalists. Let them look with their clearest vision abroad and at home. They will see that where they have no social freedom, Comedy is absent: where they are household drudges, the form of Comedy is primitive: where they are tolerably independent, but uncultivated, exciting melodrama takes its place and a sentimental version of them. Yet the Comic will out, as they would know if they listened to some of the private conversations of men whose minds are undirected by the Comic Muse: as the sentimental man, to his astonishment, would know likewise, if he in similar fas.h.i.+on could receive a lesson. But where women are on the road to an equal footing with men, in attainments and in liberty--in what they have won for themselves, and what has been granted them by a fair civilization--there, and only waiting to be transplanted from life to the stage, or the novel, or the poem, pure Comedy flourishes, and is, as it would help them to be, the sweetest of diversions, the wisest of delightful companions.

Now, to look about us in the present time, I think it will be acknowledged that in neglecting the cultivation of the Comic idea, we are losing the aid of a powerful auxiliar. You see Folly perpetually sliding into new shapes in a society possessed of wealth and leisure, with many whims, many strange ailments and strange doctors. Plenty of common-sense is in the world to thrust her back when she pretends to empire. But the first-born of common-sense, the vigilant Comic, which is the genius of thoughtful laughter, which would readily extinguish her at the outset, is not serving as a public advocate.

You will have noticed the disposition of common-sense, under pressure of some pertinacious piece of light-headedness, to grow impatient and angry. That is a sign of the absence, or at least of the dormancy, of the Comic idea. For Folly is the natural prey of the Comic, known to it in all her transformations, in every disguise; and it is with the springing delight of hawk over heron, hound after fox, that it gives her chase, never fretting, never tiring, sure of having her, allowing her no rest.

Contempt is a sentiment that cannot be entertained by comic intelligence. What is it but an excuse to be idly minded, or personally lofty, or comfortably narrow, not perfectly humane? If we do not feign when we say that we despise Folly, we shut the brain. There is a disdainful att.i.tude in the presence of Folly, partaking of the foolishness to Comic perception: and anger is not much less foolish than disdain. The struggle we have to conduct is essence against essence. Let no one doubt of the sequel when this emanation of what is firmest in us is launched to strike down the daughter of Unreason and Sentimentalism: such being Folly's parentage, when it is respectable.

Our modern system of combating her is too long defensive, and carried on too ploddingly with concrete engines of war in the attack. She has time to get behind entrenchments. She is ready to stand a siege, before the heavily armed man of science and the writer of the leading article or elaborate essay have primed their big guns. It should be remembered that she has charms for the mult.i.tude; and an English mult.i.tude seeing her make a gallant fight of it will be half in love with her, certainly willing to lend her a cheer. Benevolent subscriptions a.s.sist her to hire her own man of science, her own organ in the Press. If ultimately she is cast out and overthrown, she can stretch a finger at gaps in our ranks.

She can say that she commanded an army and seduced men, whom we thought sober men and safe, to act as her lieutenants. We learn rather gloomily, after she has flashed her lantern, that we have in our midst able men and men with minds for whom there is no pole-star in intellectual navigation. Comedy, or the Comic element, is the specific for the poison of delusion while Folly is pa.s.sing from the state of vapour to substantial form.

O for a breath of Aristophanes, Rabelais, Voltaire, Cervantes, Fielding, Moliere! These are spirits that, if you know them well, will come when you do call. You will find the very invocation of them act on you like a renovating air--the South-west coming off the sea, or a cry in the Alps.

No one would presume to say that we are deficient in jokers. They abound, and the organisation directing their machinery to shoot them in the wake of the leading article and the popular sentiment is good.

But the Comic differs from them in addressing the wits for laughter; and the sluggish wits want some training to respond to it, whether in public life or private, and particularly when the feelings are excited.

The sense of the Comic is much blunted by habits of punning and of using humouristic phrase: the trick of employing Johnsonian polysyllables to treat of the infinitely little. And it really may be humorous, of a kind, yet it will miss the point by going too much round about it.

A certain French Duke Pasquier died, some years back, at a very advanced age. He had been the venerable Duke Pasquier in his later years up to the period of his death. There was a report of Duke Pasquier that he was a man of profound egoism. Hence an argument arose, and was warmly sustained, upon the excessive selfishness of those who, in a world of troubles, and calls to action, and innumerable duties, husband their strength for the sake of living on. Can it be possible, the argument ran, for a truly generous heart to continue beating up to the age of a hundred? Duke Pasquier was not without his defenders, who likened him to the oak of the forest--a venerable comparison.

The argument was conducted on both sides with spirit and earnestness, lightened here and there by frisky touches of the polysyllabic playful, reminding one of the serious pursuit of their fun by truant boys, that are a.s.sured they are out of the eye of their master, and now and then indulge in an imitation of him. And well might it be supposed that the Comic idea was asleep, not overlooking them! It resolved at last to this, that either Duke Pasquier was a scandal on our humanity in clinging to life so long, or that he honoured it by so st.u.r.dy a resistance to the enemy. As one who has entangled himself in a labyrinth is glad to get out again at the entrance, the argument ran about to conclude with its commencement.

Now, imagine a master of the Comic treating this theme, and particularly the argument on it. Imagine an Aristophanic comedy of THE CENTENARIAN, with choric praises of heroical early death, and the same of a stubborn vitality, and the poet laughing at the chorus; and the grand question for contention in dialogue, as to the exact age when a man should die, to the identical minute, that he may preserve the respect of his fellows, followed by a systematic attempt to make an accurate measurement in parallel lines, with a tough rope-yarn by one party, and a string of yawns by the other, of the veteran's power of enduring life, and our capacity for enduring HIM, with tremendous pulling on both sides.

Would not the Comic view of the discussion illumine it and the disputants like very lightning? There are questions, as well as persons, that only the Comic can fitly touch.

Aristophanes would probably have crowned the ancient tree, with the consolatory observation to the haggard line of long-expectant heirs of the Centenarian, that they live to see the blessedness of coming of a strong stock. The shafts of his ridicule would mainly have been aimed at the disputants. For the sole ground of the argument was the old man's character, and sophists are not needed to demonstrate that we can very soon have too much of a bad thing. A Centenarian does not necessarily provoke the Comic idea, nor does the corpse of a duke. It is not provoked in the order of nature, until we draw its penetrating attentiveness to some circ.u.mstance with which we have been mixing our private interests, or our speculative obfuscation. Dulness, insensible to the Comic, has the privilege of arousing it; and the laying of a dull finger on matters of human life is the surest method of establis.h.i.+ng electrical communications with a battery of laughter--where the Comic idea is prevalent.

But if the Comic idea prevailed with us, and we had an Aristophanes to barb and wing it, we should be breathing air of Athens. Prosers now pouring forth on us like public fountains would be cut short in the street and left blinking, dumb as pillar-posts, with letters thrust into their mouths. We should throw off incubus, our dreadful familiar--by some called boredom--whom it is our present humiliation to be just alive enough to loathe, never quick enough to foil. There would be a bright and positive, clear h.e.l.lenic perception of facts. The vapours of Unreason and Sentimentalism would be blown away before they were productive. Where would Pessimist and Optimist be? They would in any case have a diminished audience. Yet possibly the change of despots, from good-natured old obtuseness to keen-edged intelligence, which is by nature merciless, would be more than we could bear. The rupture of the link between dull people, consisting in the fraternal agreement that something is too clever for them, and a shot beyond them, is not to be thought of lightly; for, slender though the link may seem, it is equivalent to a cement forming a concrete of dense cohesion, very desirable in the estimation of the statesman.

A political Aristophanes, taking advantage of his lyrical Bacchic licence, was found too much for political Athens. I would not ask to have him revived, but that the sharp light of such a spirit as his might be with us to strike now and then on public affairs, public themes, to make them spin along more briskly.

He hated with the politician's fervour the sophist who corrupted simplicity of thought, the poet who destroyed purity of style, the demagogue, 'the saw-toothed monster,' who, as he conceived, chicaned the mob, and he held his own against them by strength of laughter, until fines, the curtailing of his Comic licence in the chorus, and ultimately the ruin of Athens, which could no longer support the expense of the chorus, threw him altogether on dialogue, and brought him under the law.

After the catastrophe, the poet, who had ever been gazing back at the men of Marathon and Salamis, must have felt that he had foreseen it; and that he was wise when he pleaded for peace, and derided military c.o.xcombry, and the captious old creature Demus, we can admit. He had the Comic poet's gift of common-sense--which does not always include political intelligence; yet his political tendency raised him above the Old Comedy turn for uproarious farce. He abused Socrates, but Xenophon, the disciple of Socrates, by his trained rhetoric saved the Ten Thousand. Aristophanes might say that if his warnings had been followed there would have been no such thing as a mercenary Greek expedition under Cyrus. Athens, however, was on a landslip, falling; none could arrest it. To gaze back, to uphold the old times, was a most natural conservatism, and fruitless. The aloe had bloomed. Whether right or wrong in his politics and his criticisms, and bearing in mind the instruments he played on and the audience he had to win, there is an idea in his comedies: it is the Idea of Good Citizens.h.i.+p.

He is not likely to be revived. He stands, like Shakespeare, an unapproachable. Swift says of him, with a loving chuckle: