LITMIR.BIZ

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spectres. He rends the earth; in the terrible hole he has made he puts Satan. Then he pushes through purgatory up to heaven. Where all end Dante begins. Dante is beyond man; beyond, not without, – a singular proposition, which, however, has nothing contradictory in it, the soul being a prolongation of man into the indefinite. Dante twists light and shade into a huge spiral; it descends, then it ascends. Wonderful architecture! At the threshold is the sacred mist; across the entrance is stretched the corpse of Hope; all that you perceive beyond is night. The infinite anguish is sobbing somewhere in the invisible darkness. You lean over this gulf-poem. Is it a crater? You hear reports; the verse shoots out narrow and livid, as from the fissures of a solfatara. It is vapour now, then lava. This paleness speaks; and then you know that the volcano, of which you have caught a glimpse, is hell. This is no longer the human medium; you are in the unknown abyss. In this poem the imponderable submits to the laws of the ponderable, with which it is mixed, as in the sudden tumbling down of a building on fire, the smoke, carried down by the ruins, falls and rolls with them, and seems caught under the timber and the stones; thence strange effects: the ideas seem to suffer and to be punished in men. The idea, sufficiently man to undergo expiation, is the phantom (a form that is shade), impalpable, but not invisible, – an appearance retaining yet a sufficient amount of reality for the chastisement to have a hold on it; sin in the abstract state, but having kept the human figure. It is not only the wicked who grieves in this Apocalypse, it is the evil; there all possible bad actions are in despair. This spiritualization of pain gives to the poem a powerful moral import. The depth of hell once sounded, Dante pierces it, and remounts to the other side of the infinite. In rising, he becomes idealized; and thought drops the body as a robe. From Virgil he passes to Beatrice. His guide to hell, it is the poet; his guide to heaven, it is poetry. The epic poem continues, and has more grandeur yet; but man comprehends it no more. Purgatory and paradise are not less extraordinary than gehenna; but the more he ascends the less interested is man. He was somewhat at home in hell, but he is no longer so in heaven. He cannot recognize himself in angels. The human eye is perhaps not made for so much sun; and when the poem draws happiness, it becomes tedious. It is generally the case with all happiness. Marry the lovers, or send the souls to dwell in paradise, it is well; but seek the drama elsewhere than there. After all, what does it matter to Dante if you no longer follow him? He goes on without you. He goes alone, this lion. His work is a wonder. What a philosopher is this visionary! What a sage is this madman! Dante lays down the law for Montesquieu; the penal divisions of "L'Esprit des Lois" are an exact copy of the classifications in the hell of the "Divina Commedia." That which Juvenal does for the Rome of the Cæsars, Dante does for the Rome of popes; but Dante is a more terrible judge than Juvenal. Juvenal whips with cutting thongs; Dante scourges with flames. Juvenal condemns; Dante damns. Woe to the living on whom this awful traveller fixes the unfathomable glare of his eyes!

      12. Another, Rabelais, is the soul of Gaul. And who says Gaul says also Greece, for the Attic salt and the Gallic jest have at bottom the same flavour; and if anything, buildings apart, resembles the Piræus, it is La Rapée. Aristophanes is distanced; Aristophanes is wicked. Rabelais is good; Rabelais would have defended Socrates. In the order of lofty genius, Rabelais chronologically follows Dante; after the stem face, the sneering visage. Rabelais is the wondrous mask of ancient comedy detached from the Greek proscenium, from bronze made flesh, henceforth a human living face, remaining enormous, and coming among us to laugh at us, and with us. Dante and Rabelais spring from the school of the Franciscan friars, as later Voltaire springs from the Jesuits. Dante the incarnate sorrow, Rabelais the parody, Voltaire the irony, – they came from the Church against the Church. Every genius has his invention or his discovery. Rabelais has made this one: the belly. The serpent is in man; it is the intestines. It tempts, betrays, and punishes. Man, single being as a spirit and complex as man, has within himself for his earthly mission three centres, – the brain, the heart, the stomach. Each of these centres is august by one great function which is peculiar to it: the brain has thought, the heart has love, the belly has paternity and maternity. The belly may be tragic. "Feri ventrem," says Agrippina. Catherine Sforza, threatened with the death of her children, kept in hostage, exhibits herself naked to her navel on the battlements of the citadel of Rimini and says to the enemy, "With this I can give birth to others." In one of the epic convulsions of Paris a woman of the people, standing on a barricade, raised her petticoat, showed the soldiery her naked belly, and cried, "Kill your mothers!" The soldiers perforated that belly with balls. The belly has its heroism; but it is from it that flows in life corruption, in art comedy. The breast, where the heart rests, has for its summit the head; the belly has the phallus. The belly being the centre of matter, is our gratification and our danger; it contains appetite, satiety, and putrefaction. The devotion, the tenderness, which we feel then are subject to death; egotism replaces them. Easily do the affections become intestines. That the hymn can become a drunkard's brawl, that the strophe can be deformed into a couplet, is sad. That comes from the beast that is in man. The belly is essentially this beast. Degradation seems to be its law. The ladder of sensual poetry has for its topmost round the Canticle of Canticles, and for its lowest the coarse jest. The belly god is Silenus; the belly emperor is Vitellius; the belly animal is the pig. One of those horrid Ptolemies was called the Belly, —Physcon. The belly is to humanity a formidable weight: it breaks every moment the equilibrium between the soul and the body. It fills history. It is responsible for nearly all crimes. It is the bottle of all vices. It is the belly which by voluptuousness makes the sultan and by drunkenness the czar; it is this that shows Tarquin the bed of Lucrece; it is this that ends by making that senate which had waited for Brennus and dazzled Jugurtha deliberate on the sauce of a turbot. It is the belly which counsels the ruined libertine, Cæsar, the passage of the Rubicon. To pass the Rubicon, how well that pays one's debts! To pass the Rubicon, how readily that throws women, into one's arms! What good dinners afterward! And the Roman soldiers enter Rome with the cry, "Urbani, claudite uxores; mœchum calvum adducimus." The appetite debauches the intellect. Voluptuousness replaces will. At starting, as is always the case, there is some nobleness. It is the orgy. There is a gradation between being fuddled and being dead drunk.

      Then the orgy degenerates into bestial gluttony. Where there was Solomon there is Ramponneau. Man becomes a barrel; an inner sea of dark ideas drowns thought; conscience submerged cannot warn the drunken soul. Beastliness is consummated; it is not even any longer cynical, it is empty and beastly. Diogenes disappears; there remains but the barrel. We commence by Alcibiades, we finish by Trimalcion. It is complete; nothing more, neither dignity, nor shame, nor honour, nor virtue, nor wit, – animal gratification in all its nakedness, thorough impurity. Thought dissolves itself in satiety; carnal gorging absorbs everything; nothing survives of the grand sovereign creature inhabited by the soul. As the word goes, the belly eats the man. Such is the final state of all societies where the ideal is eclipsed. That passes for prosperity, and is called aggrandizing one's self. Sometimes even philosophers thoughtlessly aid this degradation by inserting in their doctrines the materialism which is in the consciences. This sinking of man to the level of the human beast is a great calamity. Its first fruit is the turpitude visible at the summit of all professions, – the venal judge, the simoniacal priest, the hireling soldier; laws, manners, and beliefs are a dungheap, —totus homo fit excrementum. In the sixteenth century all the institutions of the past are in that state. Rabelais gets hold of that situation; he proves it; he authenticates that belly which is the world. Civilization is, then, but a mass; science is matter; religion is blessed with a stomach; feudality is digesting; royalty is obese. What is Henry VIII.? A paunch. Rome is a fat-gutted old woman. Is it health? Is it sickness? It is perhaps obesity; it is perhaps dropsy-query. Rabelais, doctor and priest, feels the pulse of Papacy; he shakes his head and bursts out laughing. Is it because he has found life? No, it is because he has felt death; it is, in reality, breathing its last. While Luther reforms, Rabelais jests. Which tends best to the end? Rabelais ridicules the monk, the bishop, the Pope; laughter and death-rattle together; fool's bell sounding the tocsin! Well, then, what? I thought it was a feast; it is agony. One may be deceived by the nature of the hiccough. Let us laugh all the same. Death is at the table; the last drop toasts the last sigh. The agony feasting, – it is superb. The inner colon is king; all that old world feasts and bursts, and Rabelais enthrones a dynasty of bellies, – Grangousier, Pantagruel, and Gargantua. Rabelais is the Æschylus of victuals; indeed, it is grand when we think that eating is devouring. There is something of the gulf in the glutton. Eat then, my masters, and drink,

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