LITMIR.BIZ

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      Two men may start together to write confessions, and one of the two may dissect every nerve and fibre of his inmost soul, while the other may ramble carelessly on about the places he has seen, and the people he has met; yet in the ultimate result it may turn out that it is the latter rather than the former who has revealed his identity.

      Human personalities—the strange and subtle differences which separate us from one another—refuse to give up the secrets of their quality save at the magical summons of what we call "style." Mr. Pepys was a quaint fellow and no Goethean egotist; but he managed to put a peculiar flavour of style—with a rhythm and a colour all its own—into his meticulous gossip.

      Montaigne's essays are not by any means of equal value. The more intimately they deal with his own ways and habits, the more physiological they become in their shameless candour, the better do they please us. They grow less interesting to my thinking where they debouch into quotations, some of them whole pages in length, from his favourite Roman writers.

      He seems to have kept voluminous scrap-books of such quotations, and, like many less famous people, to have savoured a peculiar satisfaction from transcribing them. One can imagine the deliberate and epicurean way he would go about this task, deriving from the mere bodily effort of "copying out" these long and carefully chosen excerpts, an almost sensual pleasure; the sort of pleasure which the self-imposed observance of some mechanical routine in a leisured person's life is able to produce, not unaccompanied by agreeable sensations of physical well-being.

      But what, after all, is this "new soul" which Montaigne succeeded in putting into our western civilisation at the very moment when Catholic and Protestant were so furiously striving for the mastery? What is this new tone, this new temper, this new temperamental atmosphere which, in the intervals of his cautious public work and his lazy compiling of scrap-books from the classics, he managed to fling abroad upon the air?

      It is a spiritual ingredient, composed, when one comes to analyse it, of two chemical elements; of what might be called aesthetic egoism and of what we know as philosophic scepticism. Let us deal with the former of these two elements first.

      Egoism, in the new psychological sense of the word, may be regarded as the deliberate attempt in an individual's life to throw the chief interest and emphasis of his days upon the inward, personal, subjective impressions produced by the world, rather than upon outward action or social progress. Egoism does not necessarily imply the invidious stigma of selfishness. Goethe, the greatest of all egoists, was notoriously free from such a vice. "Who," cried Wieland, when they first met at Weimar, "who can resist the unselfishness of this man?"

      Egoism does not necessarily imply "egotism," though it must be confessed that in Montaigne's case, though not in Goethe's, there may have been a touch of that less generous attribute.

      Egoism is an intellectual gesture, a spiritual attitude, a temperamental atmosphere. It is a thing which implies a certain definite philosophical mood in regard to the riddle of existence; though, of course, between individual egoists there may be wide gulfs of personal divergence.

      Between Montaigne and Goethe, for instance, there is an immense difference. Goethe's egoism was creative; Montaigne's receptive. Goethe's was many-sided; driven forward by a tremendous demonic urge toward the satisfaction of a curiosity which was cosmic and universal. Montaigne's was in a certain sense narrow, limited, cautious, earth-bound. It had nothing of the large poetic sweep, nothing of the vast mystical horizons and huge imaginative vistas of the great German. But on the other hand, it was closer to the soil, homelier, more humorous, in a certain measure more natural, normal and human.

      This "cult of egoism" is obviously not entirely modern. Traces of it, aspects of it, fragments and morsels of it, have existed from all time. It was the latent presence of this quality in his great Romans, much more than their mere "outward triumphs," which led him to brood so incessantly upon their memories.

      But Montaigne himself was the first of all writers to give palpable intellectual shape to this diffused spiritual temper.

      In recent times, some of the most fascinating of our literary guides have been philosophical egotists. Whitman, Matthew Arnold, Emerson, Pater, Stendhal, Maurice Barrès (in his earlier work), de Gourmont, D'Annunzio, Oscar Wilde—are all, in their widely different ways, masters of the same cult.

      The out-looking activities and the out-looking social interests of Voltaire or Renan, or Anatole France, give to these great writers quite a different psychological tone. The three I have just mentioned are all too inveterately spirits of mockery even to take seriously their own "sensations and ideas"; and however ironical and humorous an egoist may be with regard to other people's impressions, with regard to his own he is grave, intent, preoccupied, almost solemn.

      When one thinks of it, there is a curious solemnity of preoccupation with themselves and their own sensations about Wilde, Pater, Whitman, Stendhal, D'Annunzio and Barrès. And this "gravity of egoism" is precisely the thing which, for all his humorous humanity, distinguished the great Montaigne and which his early critics found so irritating.

      "What do I care—what does any one care," grumbled the learned Scaliger, "whether he prefers white wine to red wine?"

      The second element in the compound chemistry of the "modern temper" introduced into the world by Montaigne may be found in his famous scepticism. The formidable levity of that notorious "que sais-je?" "What do I know?" writes itself nowadays across our whole sky. This also—"this film of white light," as some one has called it, floating waveringly beneath each one of our most cherished convictions was, not unknown before his time.

      All the great sophists—Protagoras especially, with his "man the measure of all things"—were, in a sense, professional teachers of a refined scepticism.

      Plato himself, with his wavering and gracious hesitations, was more than touched by the same spirit.

      Scepticism as a natural human philosophy—perhaps as the only natural human philosophy—underlies all the beautiful soft-coloured panorama of pagan poetry and pagan thought. It must have been the habitual temper of mind in any Periclean symposium or Caesarean salon. It is, pre-eminently and especially, the civilised attitude of mind; the attitude of mind most dominant and universal in the great races, the great epochs, the great societies.

      It is for this reason that France, among all modern nations, is the most sceptical.

      Barbarian peoples are rarely endowed with this quality. The crude animal energy, which makes them successful! in business, and even sometimes in war, is an energy which, for all its primitive force, is destructive of civilisation. Civilisation, the rarest work of art of our race's evolution, is essentially a thing created in restraint of such crude energies; as it is created in restraint of the still cruder energies of nature itself.

      The Protestant Reformation springing out of the soul of the countries "beyond the Alps" is, of course, the supreme example of this uncivilised force. One frequently encounters sceptical-minded Catholics, full of the very spirit of Montaigne—who died in the Catholic faith—but it is rare to meet a Protestant who is not, in a most barbarous sense, full of dogmatic and argumentative "truth."

      So uncivilised and unlovely is this controversial mood that free-thinkers are often tempted to be unfair to the Reformation. This is a fault; for after all it is something, even for ingrained sceptics prepared to offer incense at any official altar, to be saved from the persecuting alliance of church and state.

      It is not pleasant to meet argumentative revivalists, and the Puritan influence upon art and letters is no less than deadly; but it is better to be teased with impertinent questions about one's soul than to be led away to the stake for its salvation.

      The mention of the situation, in which in spite of Shakespeare and the rest poor modern sceptics still find themselves, is an indication of how hopelessly illusive all talk of "progress" is. Between Calvin on the one hand and the Sorbonne on the other, Montaigne might well shuffle home from his municipal duties and read Horace in his tower. And we, after three hundred odd years, have little better to do.

      Heine, impish descendant

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