Eloa, Doloeida’? Where did he find his inspiration for style and composition in these poems? If the poets of the Pleiades of the Restoration seem to have found their inspiration within themselves, showing no trace of connection with the literature of the past, thus throwing into confusion old habits of taste and of routine, certain it is that among them Alfred de Vigny should be ranked first.”
Even in the collection that bears the date of 1822, some years before the future author of Legende des Siecles had taken up romanticism, Alfred de Vigny had already conceived the idea of setting forth, in a series of little epics, the migrations of the human soul throughout the ages. “One feels,” said he in his Preface, “a keen intellectual delight in transporting one’s self, by mere force of thought, to a period of antiquity; it resembles the pleasure an old man feels in recalling first his early youth, and then the whole course of his life. In the age of simplicity, poetry was devoted entirely to the beauties of the physical forms of nature and of man; each step in advance that it has made since then toward our own day of civilization and of sadness, seems to have blended it more and more with our arts, and even with the sufferings of our souls. At present, with all the serious solemnity of Religion and of Destiny, it lends to them their chief beauty. Never discouraged, Poetry has followed Man in his long journey through the ages, like a sweet and beautiful companion. I have attempted, in our language, to show some of her beauties, in following her progress toward the present day.”
The arrangement of the poems announced in this Preface is tripartite, like that of the ‘Legende des Siecles: Poemes antiques, poemes judaiques, poemes modernes.—Livre mystique, livre antique, livre moderne’. But the name of precursor would be a vain title if all that were necessary to merit it was the fact that one had been the first to perceive a new path to literary glory, to salute it from a distance, yet never attempt to make a nearer approach.
In one direction at least, Alfred de Vigny was a true innovator, in the broadest and most meritorious sense of the word: he was the creator of philosophic poetry in France. Until Jocelyn appeared, in 1836, the form of poetic expression was confined chiefly to the ode, the ballad, and the elegy; and no poet, with the exception of the author of ‘Moise’ and ‘Eloa’, ever dreamed that abstract ideas and themes dealing with the moralities could be expressed in the melody of verse.
To this priority, of which he knew the full value, Alfred de Vigny laid insistent claim. “The only merit,” he says in one of his prefaces, “that any one ever has disputed with me in this sort of composition is the honor of having promulgated in France all works of the kind in which philosophic thought is presented in either epic or dramatic form.”
But it was not alone priority in the sense of time that gave him right of way over his contemporaries; he was the most distinguished representative of poetic philosophy of his generation. If the phrases of Lamartine seem richer, if his flight is more majestic, De Vigny’s range is surer and more powerful. While the philosophy of the creator of ‘Les Harmonies’ is uncertain and inconsistent, that of the poet of ‘Les Destinees’ is strong and substantial, for the reason that the former inspires more sentiment than ideas, while the latter, soaring far above the narrow sphere of personal emotion, writes of everything that occupies the intellect of man.
Thus, by his vigor and breadth of thought, by his profound understanding of life, by the intensity of his dreams, Alfred de Vigny is superior to Victor Hugo, whose genius was quite different, in his power to portray picturesque scenes, in his remarkable fecundity of imagination, and in his sovereign mastery of technique.
But nowhere in De Vigny’s work is that superiority of poetic thought so clearly shown as in those productions wherein the point of departure was farthest from the domain of intellect, and better than any other has he understood that truth proclaimed by Hegel: “The passions of the soul and the affections of the heart are matter for poetic expression only in so far as they are general, solid, and eternal.”
De Vigny was also the only one among our poets that had a lofty ideal of woman and of love. And in order to convince one’s self of this it is sufficient to reread successively the four great love-poems of that period: ‘Le Lac, La Tristesse d’Olympio, Le Souvenir, and La Colere de Samson’.
Lamartine’s conception of love was a sort of mild ecstasy, the sacred rapture in which the senses play no part, and noble emotions that cause neither trouble nor remorse. He ever regarded love as a kind of sublime and passionate religion, of which ‘Le Lac’ was the most beautiful hymn, but in which the image of woman is so vague that she almost seems to be absent.
On the other hand, what is ‘La Tristesse d’Olympio’ if not an admirable but common poetic rapture, a magnificent summary of the sufferings of the heart—a bit of lyric writing equal to the most beautiful canzoni of the Italian masters, but wherein we find no idea of love, because all is artificial and studied; no cry from the soul is heard—no trace of passion appears.
After another fashion the same criticism applies to Le Souvenir; it was written under a stress of emotion resulting from too recent events; and the imagination of the author, subservient to a memory relentlessly faithful, as is often the case with those to whom passion is the chief principle of inspiration, was far from fulfilling the duties of his high vocation, which is to purify the passions of the poet from individual and accidental characteristics in order to leave unhampered whatever his work may contain that is powerful and imperishable.
Alfred de Vigny alone, of the poets of his day, in his ‘Colere de Samson’, has risen to a just appreciation of woman and of love; his ideal is grand and tragic, it is true, and reminds one of that gloomy passage in Ecclesiastes which says: “Woman is more bitter than death, and her arms are like chains.”
It is by this character of universality, of which all his writings show striking evidence, that Alfred de Vigny is assured of immortality. A heedless generation neglected him because it preferred to seek subjects in strong contrast to life of its own time. But that which was not appreciated by his contemporaries will be welcomed by posterity. And when, in French literature, there shall remain of true romanticism only a slight trace and the memory of a few great names, the author of the ‘Destinees’ will still find an echo in all hearts.
No writer, no matter how gifted, immortalizes himself unless he has crystallized into expressive and original phrase the eternal sentiments and yearnings of the human heart. “A man does not deserve the name of poet unless he can express personal feeling and emotion, and only that man is worthy to be called a poet who knows how to assimilate the varied emotions of mankind.” If this fine phrase of Goethe’s is true, if true poetry is only that which implies a mastery of spiritual things as well as of human emotion, Alfred de Vigny is assuredly one of our greatest poets, for none so well as he has realized a complete vision of the universe, no one has brought before the world with more boldness the problem of the soul and that of humanity. Under the title of poet he belongs not only to our national literature, but occupies a distinctive place in the world of intellect, with Lucretius, Dante, and Goethe, among those inspired beings who transmit throughout succeeding centuries the light of reason and the traditions of the loftiest poetic thought.
Alfred de Vigny was elected to a chair in the French Academy in 1846 and died at Paris, September 17, 1863.
GASTON BOISSIER
Secretaire Perpetuel de l’Academie Francaise.
TRUTH IN ART
The study of social progress is to-day not less needed in literature than is the analysis of the human heart. We live in an age of universal investigation, and of exploration of the sources of all movements. France, for example, loves at the same time history and the drama, because the one explores the vast destinies of humanity, and the other the individual lot of man. These embrace the whole of life. But it is the province of religion, of philosophy, of pure poetry only, to go beyond life, beyond time, into eternity.
Of late years (perhaps as a result of our