The French Revolution. R. M. Johnston
the zeal of a reformer. He was, in fact, the successor of Calvin. But since Calvin's day Protestantism had been almost extirpated in France, so that the gradual growth of the spirit of enquiry, still proceeding below the surface, had brought it to a point beyond Protestantism. It was atheism that Voltaire stood for, and with the vast majority of the people of France from that day to this the alternative lay between rigid Catholicism on one hand and rigid atheism on the other. The innumerable shades of transition between these extremes, in which English and German Protestantism opened a pioneer track, remained a sealed book for them. In his Letters on the English, published in 1734, Voltaire dwells less on constitutional than on religious questions. Liberty of conscience is what he struggles for, and he discerns not only that it is more prudent to attack the Church than the State but that it is more essential; religion is at the root of the monarchical system even if the 18th century ruler is apt to forget it. And the Church gives Voltaire ample opportunity for attack. The bishops and court abbés are often enough {18} sceptics and libertines, though every once in a while they turn and deal a furious blow to maintain the prestige and discipline of their ancient corporation. And when, for a few blasphemous words, they send a boy like the Chevalier de La Barre to the scaffold, to be mutilated and killed, Voltaire's voice rings out with the full reverberation of outraged humanity and civilization: Ecrasez l'infâme! He believed that the Revolution, which he like so many others foresaw, would begin by an attack on the priests. It was the natural error of a thinker, a man of letters, concerned more with ideas than facts, with theology than economics.
Above all things, Voltaire stood out as a realist, in the modern sense of the word, and if he detested the Church it was largely because it represented untruth. He did not deflect opinion to the same extent as his great contemporary Rousseau, but he represented it more; and of the men of the Revolution, it was Robespierre, who reigned less than four months, who stood for Rousseau, while Bonaparte, who reigned fourteen years, was the true Voltairian.
Just at the side of Voltaire stood the Encyclopedists, led by Diderot and d'Alembert. The {19} great work of reference which they issued penetrated into every intellectual circle, not only of France but of Europe, and brought with it the doctrines of materialism and atheism. However much they might be saturated with the ideas of Church and State in the Roman-Bourbon form, many of its readers became unconsciously shaken in their fundamental beliefs, and ready to question, to criticize and, when the edifice began to tremble, to accept the Revolution and the doctrine of the rights of the common man.
Voltaire, Diderot, d'Alembert, were at heart essentially aristocrats; for them the common man was an untrustworthy brute of low instincts, and their revolution would have meant the displacement of an aristocracy of the sword by an aristocracy of the intellect. Rousseau stood for the opposite view. To him it was only despotism that degraded man. Remove the evil conditions and the common man would quickly display his inherent goodness and amiability; tenderness to our fellows, or fraternity, was therefore the distinctive trait of manhood. The irrepressible exuberance of Rousseau's kindliness overflowed from his novels and essays into a great stream of fashionable sensibility. During the years of {20} terrific stress that followed, during the butcheries of the guillotine and of the Grande Armée, it was the vogue to be soft-hearted, and even such a fire eater as Murat would pour libations of tears over his friends' waistcoats at the slightest provocation. In his Contrat Social Rousseau postulated the essential equality of the governor and the governed. But his sentimental attitude towards man involved a corresponding one towards the Deity; unable to accept Catholicism or even Christianity, he sought refuge from atheism in the arms of the Etre Suprême. It was this Supreme Being of Rousseau that was to become the official deity of France during the last days of the Reign of Terror.
An influence of a slightly different sort to that exercised by these writers was that of the theatre. The century had seen the rise of the middle-class man, and his attempts at self expression. The coffee-house and the Freemason's lodge gave facilities for conversation, discussion, opinion; and the increasing number of gazettes supplied these circles with information as to the course of political events. But the gazettes themselves might not venture into the danger-marked field of opinion, and for the fast growing public, especially in the {21} city of Paris, there was no opportunity for comment or criticism on the events of the day. In a tentative way the theatre proved itself a possible medium. In 1730, Voltaire produced his tragedy Brutus. It fell flat because of the lines
… et je porte en mon coeur
a liberté gravée et les rois en horreur.
The audience was too loyal to Bourbonism to accept these sentiments; there were loud murmurs; and Brutus had to be withdrawn. As late as 1766, a play on the subject of William Tell was given to an empty house; no one would go to see a republican hero. But from the sixties matters changed rapidly. Audiences show great enthusiasm over rivalries of art, of actors, of authors, of opinions, and every once in a while applaud or boo a sentiment that touches the sacred foundations of the social and political order. At last an author appears on the scene, keen, witty, unscrupulous, resourceful, to seize on this growing mood of the public and to play on it for his own glory and profit.
Beaumarchais, Mirabeau, Dumouriez, Bonaparte, these are the types of the adventurers of the Revolution, and the first only belongs {22} to the period of incubation and also to the domain of letters. Thrown into the war of American independence by his double vocation of secret diplomatic agent and speculator in war supplies, he had espoused the cause of the American people with an enthusiasm that always blazed most brightly when a personal interest was at stake. His enthusiasm for American liberty was easily converted into enthusiasm for the liberty of his own class, and to vindicate that, he put Figaro on the stage.
The first public performance of the Noces de Figaro, in 1784, was the culmination of a three years' struggle. Louis XVI had declared the play subversive, and the author had raised a storm of protest in its behalf. A special performance was conceded for the Court; and the Parisian public, irritated at being thus excluded, then raised for the first time the cry of tyranny and oppression. When at last the Government in its weakness made the final concession, and permitted a public performance, the demand for seats was greater than had ever previously been known. The theatre was packed. Great lords and ladies sat elbow to elbow with bourgeois and fashionable women; and when Figaro came on and declaimed against social injustice, the opposite parties in {23} the house stormed approval or disfavour. Figaro is Beaumarchais, is the lower or middle class man, with nothing but his wits with which to force his way through the barriers which privilege has erected across every path along which he attempts to advance. As the valet of Count Almaviva he has seen the man of privilege at close quarters and has sounded his rottenness and incapacity. Because you are a grand seigneur, he says, you think yourself a great genius; but, Monsieur le Comte, to what do you really owe your great privileges? To having put yourself to the inconvenience of being born, nothing more. I, with all my ability and force, I who can work for myself, for others, for my country, I am driven away from every occupation.
That was what the pushing adventurer and witty dramatist had to say, but all through the country thousands of plain, inconspicuous men, doctors, lawyers, merchants, farmers, even here and there a peasant or a noble, the best representatives of the deep-rooted civilization of France, of her keen intelligence, of her uprightness, of her humanity, revolted inwardly at the ineptitude and injustice of her government. As they saw it, the whole system seemed to revolve about Versailles, the abode {24} of the Bourbon King, the happy hunting ground of the privileged courtier, the glittering abode of vice and debauchery, the sink through which countless millions were constantly drained while the poor starved, the badge of dishonour and incapacity which had too frequently been attached to the conduct of France both in war and in peace. The twenty-five millions without the gates gazed at the hundred thousand within, and the more they gazed the louder and more bitter became their comment, the dimmer and the more tawdry did the glitter of it all appear to them, and the weaker and more half-hearted became the attitude of the one hundred thousand as they attempted by insolence and superciliousness to maintain the pose of their inherited superiority.
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CHAPTER III