For I beheld in sleep the light that is In her high place in Paphos, heard the kiss Of body and soul that mix with eager tears, And laughter stinging thro' the eyes and ears,

a sort of _tessera_ evidently left there to be fitted in whenever a favourable blank presented itself; we find it, without the smallest change of language, fixed in the middle of the poem. It is noticeable that the fragment "In her high place in Paphos" is now utilized.

A storm of excitement presently ruffles the poet, and he turns the sheet in such agitation that he holds it upside-down. Without leading up to it in any way, he starts a pa.s.sage

_She came and touched me, saying_ "Who doth thee wrong, Sappho?"

which closes abruptly with lines which may be cited because they contain several of the very rare instances in which the draft slightly differs verbally from the text of 1866:

Ah, wilt thou slay me lest I kiss thee dead?

_"Be of good cheer, wilt thou forget?" she_ said: _"For_ she that flies shall follow for thy sake, _For_ she shall give thee gifts that _will_ not take, Shall kiss that _will_ not kiss thee" (yea, kiss me) "When _I would_ not, etc."

We presently come across the only Couplet in the whole poem which was cancelled in the first draft, and yet reappears in the published text.

This is:

Bound with her myrtles, beaten with her rods, The young men and the maidens and the G.o.ds,

now very effectively introduced into the argument, but in the first draft destroyed with a whirling movement of the pen, so that it looks as if a dust-storm involved it. Written with frenzied violence, almost perpendicularly, the draft then presents a couplet:

Taught the sun ways to travel, woven most fine The moonbeams, shed the starbeams forth as wine,

for which a place is now found immediately before the "Bound with her myrtles" couplet. The ecstasy of the poet seems to have suddenly flagged here, and there follows immediately, in sedate script, with even lines, the pa.s.sage

Alas, that neither moon nor sun nor dew Nor all cold things can purge me wholly through, a.s.suage me nor allay me nor appease, Till supreme sleep shall bring me bloodless ease, Till time wax faint in all his periods,

which now takes its place near the very close of the poem. The actual closing lines are, in like fashion, appended to the third page of the draft. They read as follows:

Till fate undo the bondage of the G.o.ds, And lay to slake _the unquenchable desire Lethean lotus on a lip of fire,_ And _pour_ around and over and under me _The wake of_ the insuperable sea.

There was evidently on the poet's part no original intention of utilizing these lines as a conclusion to the poem. I give them here because they present the solitary instance of important verbal alteration to be found in the whole text of 1866.

It would baffle the most meticulous investigation to restore the innumerable false starts, broken lines, and rejected readings which underlie the text of the Draft. There is no question here of Swinburne's creating or polishing anything in his mind, the whole work of composition proceeds on the paper itself, and what is very curious is the fact that nothing of any merit or technical beauty seems, so far as it is possible to decipher the cancelled verses, to be lost. As soon as ever the expression became adequate the line was left, and was never modified; as long as it was inadequate, it was pitilessly rejected, and the verse not pa.s.sed till it satisfied the ear and imagination of the poet. What is interesting is that this work was carried out with the pen, and not, as was the practice in Swinburne's later years, with the mind; and nothing could be more opposed to the popular notion of Swinburne as the inspired improvisatore than all this evidence of intense laborious application to his creative task. In fact the more the original MSS. of Swinburne are examined, the more clearly is he revealed to us as an artist equally sedulous and sensitive, working by fits and starts, in gusts of overwhelming emotion, but always sufficiently master of himself to recognize, with finality, when the exact form of expression had been reached. Having recognized it, he did not, like Tennyson, Landor and other poets, fidget any further with it, but left it verbally permanent.

On the other hand, the draft of _Anactoria_ proves, what we might have suspected, that if Swinburne completed his verbal text in his first movement of laboured inspiration, he made no effort then to build up his poem. It may be observed that _Dolores_ is a rosary of stanza-beads on an invisible string; in other words, that the string might be broken, the beads shaken together, and the stanzas arranged in an entirely new sequence, without any injury to the effect of the poem. In other cases, and these some of Swinburne's finest lyrics, the same want of progression is to be noted. But we have not been able to witness the process before, nor were we prepared to find it working in a poem which is so elegiacal as _Anactoria_. Yet the evidence of the First Draft is positive. It is now clear that Swinburne forged his brilliant Dryden-like couplets as though each one were a stanza, and practically treated them as bits of mosaic to be fitted, in cooler blood, into a scheme not present to his mind when his inspiration seized him.

We seem, therefore, to be in the presence of a curious phenomenon.

Whereas in the case of most poets the general outline of the work precedes the execution of it in detail, Swinburne offers us the paradox of an execution carried to the utmost finish before the act of evolution begins. He takes a bag-ful of couplets, all polished to the finest point, and--on some subsequent occasion--he builds these up into a poem which has the aspect of inevitable growth. The First Draft of _Anactoria_, which I have attempted to describe, is totally unintelligible, a chaos of Rodin-like fragments, unless we accept this theory of the poet's method.

One point remains to be stated. The published text of _Anactoria_ contains 304 lines. Of these I have found, scattered over the tract of delirious ma.n.u.script, 270. It is curious that not a single verse should have been added by the poet when he came to distribute and arrange his cl.u.s.ter of couplets, the solitary accession to the text being the solid pa.s.sage of 34 lines in the middle of the poem, beginning

Or say what G.o.d above all G.o.ds and years With offering and blood-sacrifice of tears.

Of this, not a single trace is to be found in the Draft. My first supposition was that the sheet containing these lines was lost, as might well be when we consider the accidental and fortuitous way in which the rest was retrieved. But I have come to the conclusion that this is not the case. The text in the Draft stops at the line

_The mystery of the cruelty of things_

without any sign that the idea of the impa.s.sive harshness of Fate was to be expanded. The 34 lines which now follow have, moreover, a character that distinguishes them from the rest of _Anactoria_, with which they are not quite in keeping. They leave the individual pa.s.sion of Sappho entirely out of sight, and they are instinct with an order of theological ideas which occupied Swinburne in 1864 and 1865, when he was writing _Atalanta in Calydon_ and the earliest of _Songs before Sunrise_. They are on a higher philosophical plane than the melodious ravings of the love-sick poetess, and the more we read them, the more may we be persuaded that they are an after-thought.

THE HoTEL DE RAMBOUILLET

THE fashion of the moment, whether in literature or in art, whether in England or in France, favours what is rough, vivid and undisciplined. A new generation of readers welcomes the lyrical effusions of the cowboy, the lumberman, the tramp, and even the apache. It accepts Bubu de Montparna.s.se as a hero and does not shrink from overhearing the confidences of a burglar. There is no reason why we should exercise our sarcasm over these _navetes_ of taste, while indeed, as social beings, we are even ent.i.tled to rejoice at them, since, in the language of practical aestheticism, a positive always involves a negative. If this age dotes on the dirtiness of tramps, it is because every one of us is obliged to be occupied and clean; and if the apache is the object of our poetry, it is because, in our extremely settled, confident and comfortable lives, we miss the excitement of being in personal danger.

But let the delicate social balance of our existence be again disturbed, let us become practically accustomed to starvation and outrage and murder, and not another strophe would our poets address to the drunken navvy or the grimy bathchair-man. If London or Paris were to burn, if only for a fortnight, literature and art would hurry back to the study of princesses and to the language of the Golden Age.[1]

No more striking instance of this oscillation is to be found in history than is afforded by France at the opening of the seventeenth century, in the creation of what is called the vie de salon. This movement, the most civilizing, the most refining in the intellectual life of France, was the direct outcome of the convulsion of the civil wars. It was the ugliness, the wickedness, the brutality of the reigns of the later Valois which made the best minds of Paris determine to be gentle, beautiful and delicate under Louis XIII. Forty years of savage rapine had laid a severe embargo upon civilization, and no picture of France in 1625 can be complete without a glance at the background of 1575. In that half-century of administrative disorder, in the bitter and distracted state of country life, the population had lost confidence in virtue, and had become rude and dishonest. One of the Venetian amba.s.sadors, travelling through France, declared of the Frenchmen whom he met, that "the sight of blood had made them cunning, coa.r.s.e and wild." If such was the condition of the countryside, the towns were even worse. There resulted from the misery after the siege of Paris a universal weariness, a longing for tolerance in man to man, a yearning for refinement in private life, for security, for cultivation, for repose of mind and body and estate.

That Henri IV was a Protestant has led, perhaps, to some injustice being done to his memory in a Catholic country. But he deserved well of France in this critical moment. Every necessity of life had become extravagantly dear, every branch of industry depressed, if not extinct, when he came to the throne. He set himself to be the guardian of trade, and of the arts. He rebuilt cities, and a contemporary reported of him that "no sooner was he master of Paris, than the streets were swarming with masons." The shrewdness of Henri IV broke down the old superst.i.tion, of which Sully made himself the obstinate spokesman, that agriculture was the only source of wealth for France. The King persisted in encouraging the manufactures of silk and linen; in widening the circle of commercial interests; in teaching Frenchmen to achieve wealth and honour as architects, painters, sculptors and cabinet-makers. The prestige of the military n.o.bles grew less and less, that of the _bourgeoisie_ grew more and more, while between them a new cla.s.s, refined, intelligent, a little timid and supple in their professional adroitness, that _nouvelle aristocratic de robe_, of which M. Lavisse has spoken, came to the front and gave its tone to the surface of life.

The general trend of the best thought, at the beginning of the seventeenth century, was towards the polishing of society, left roughened and rusty by the long wars of religion. But the court of Henri IV was too coa.r.s.e, and too little in sympathy with the mental aspirations of the age, to carry out this design, which needed other influences than those which could emanate from Marie de Medicis.

Meanwhile, the great importance of the provincial centres had rapidly declined, and it was Paris that gave the tone to France. This then was the moment when a peculiarly Parisian centre was needed, independent of the court, yet in political sympathy with it, a centre of imagination and intelligence not too austere in its morals, not too pedantic in its judgments, to include the characteristic minds of the age, whatever their limitation or peculiarity; and yet definitely, unflinchingly and for a sufficient length of time, radiating politeness and authority.

Such a Parisian centre must be aristocratic, yet liberal and intelligent; it must lay down rules of conduct, and contrive to get them obeyed; it must be recognized and haunted by the first men and women of the century; it must be actuated in equal proportions by the genius of discipline, and by that of easy grace and accomplished gallantry. In short, it must be what Providence astonishingly provided for French society at that moment of its sorest need, the unparalleled Hotel de Rambouillet, with, as its prophetess and chatelaine, one of the most charming women who have ever occupied the pen of the memoir-maker.

In observing the history of the famous Chambre Bleue, it cannot but strike an English critic how far more articulate French opinion was than English in the seventeenth century. Although, as we shall presently see, doc.u.ments have been slow in forthcoming, they existed, and still exist, in profusion. But while we can now study, almost from day to day, the intrigues, the amus.e.m.e.nts and the enthusiasms of the group in the Rue Saint-Thomas, the record of a similar _salon_ open in England at the same epoch is still shrouded in a darkness which is likely never to be penetrated. So far as we can venture to judge there must have been many points of likeness between the Marquise de Rambouillet and Lucy Countess of Bedford. The circle of the friends of each was ill.u.s.trious. Donne was a greater poet-divine than Cospeau or G.o.deau; our national vanity may fairly set Daniel and Drayton against Voiture and Chapelain, while even Corneille is not shamed by being balanced by Ben Jonson. The coterie of the Countess of Bedford may probably have been less wealthy, less sparkling, more provincial than that of Madame de Rambouillet, but the melancholy thing is that we lack the opportunity of comparing them. Save for vague allusions in the poets, and for a dim tradition of politeness, we form no detailed impression of the feasts of wit at Twickenham, whereas about those in the Rue Saint-Thomas we know almost as much as heart can wish. In the communication of social impressions England stood much farther behind France in the seventeenth century than the individual genius of her writers accounts for. We have, however, one possible recompense: the field of irresponsible conjecture is infinitely wider in our island chronicle. In France, even the craziest of faddists could not hope for a hearing if he suggested that the tragedies of Pierre Corneille were secretly written by Richelieu in his lighter moments.

On the history of the Hotel de Rambouillet the doc.u.ments which survive are very numerous, and probably have not yet been exhaustively examined.

The seventeenth century in France was awake to the importance of its own immortality, and set down the records of its social and literary glory with complacency. The memorials of the Hotel de Rambouillet to be found scattered over the works of such contemporaries as Segrais, Pellisson and Conrart have long been known. The poems and correspondence of Voiture, of course, form a mine of treasure, which was first competently worked by Ubicini in his edition of Voiture's works. It is now sifted to its last crumb of gold by M. emile Magne in the eloquent and learned volumes which he has just published. There is also, and most important of all, Tallemant des Reaux, of whom I shall presently speak at greater length. M. Magne and M. Collas, with Voiture and Chapelain respectively in their particular thoughts, have turned over the priceless wealth of MSS. in the _Archives nationales_. It is probable that we now possess, thanks to the researches of these scholars, as full an account of the Hotel de Rambouillet as we are likely to obtain. It may be pointed out that these exact records, founded upon positive doc.u.ments, show the danger of such hypotheses as not a few previous historians have rashly taken up. In the light of present knowledge, it is necessary to use not merely Roederer (1835), but even the more accurate Livet (1870), with caution.

The Hotel existed, as a centre of light and civility, for nearly seventy years, and involved the whole careers of two generations. Its history, which was developed by circ.u.mstances, and somewhat modified in its course by changes of taste, found no chronicler until it had existed some twenty years. That preliminary period, from the death of Henri IV to the arrival of Tallemant and Voiture, is precisely the time about which we should like to know most, and about which we are doomed to know least. The violent close of the reign, in a last wild crime, had, as we see from every species of evidence, brought with it a longing for serenity and repose. The keynote of the best society became a cultivation of simplicity, refinement, and delicacy. This growth of a new spirit was identified with the Marquis and Marquise of Rambouillet, but exactly how at first we are at a loss to tell, and even M. Magne is silent. A careful setting side by side of scattered impressions may enable us, however, while avoiding these hypotheses of which we have given warning, to form some idea of the foundation of the Hotel and its prestige.

Charles d'Angennes, Marquis of Rambouillet and Pisani, who has given its t.i.tle to the celebrated union of hearts, must not long detain us, for the excellent reason that not much is recorded about him. He was probably born about 1577, and he died in Paris in 1652, having become blind about twelve years earlier. His eyesight was very peculiar; perhaps he was colour-blind. On this subject he was sensitive, and tried to conceal his condition. On one occasion, when the Duc de Montausier, who was known to have recently ordered a gorgeous scarlet costume, appeared at the Hotel de Rambouillet, his host called out "Ah! Monsieur, la belle escarlate!"--which was unlucky, because the Duc had happened to call in a black suit. Tallemant says that the Marquis "avait terriblement d'esprit, mais un peu frondeur." In this he doubtless resembled most of the wits of that age, who liked to let their antagonists feel that there were claws under the fur. In wit his wife, with her sweet consideration and delicate humorous tact, was immeasurably his superior; it was she, and not he, who gave the Hotel its famous amenity. We must not measure this in all things by our standards. About 1625 there was quite an inundation of spiteful, and sometimes obscene, verse in France, and this has to be taken into consideration in dealing with the _salons_. The Hotel de Rambouillet kept this in some check, but was amply aware of the entertainment to be got by clothing satire--what Agrippa d'Aubigne called _la malplaisante verite_--in smooth and well-turned verse. The Marquis was himself a versifier, and he shared to the full his wife's respect for letters.

There is nothing, however, to show that this agreeable man would have been able, by his unaided talents, to make a mark upon the age he lived in. He was the satellite of an infinitely more refulgent luminary, his extraordinary wife. If there is such a thing as social genius, on the same lines as literary or artistic genius, this was undoubtedly possessed, in a very high degree, by Catherine de Vivonne, Marquise de Rambouillet. She was born at Rome in 1588; half an Italian, her mother was a Roman princess, Julia Savella; and when, long afterwards, the Marquise had become not merely French, but almost the culture of France incarnate, she loved to dwell on her Italian parentage. Tallemant tells us that she always thought the Savelli the best family in the world; it was her faith. At the age of six, she became a naturalized French citizen, and in January, 1600, being in her twelfth year, she was married to Charles d'Angennes, who, his father being still alive, was then Vidame du Mans. Her own sober and stately father, the Marquis de Pisani, was just dead. He had left Catherine a conspicuous heiress. In later years, she spoke with characteristic humour of the way in which she was intimidated, poor child of twelve, by her husband's years, since he was twenty-three, and she said that she had never become quite used to feeling grown-up in his presence. But this was her whimsical way of talking, for there really existed between them the closest and most intimate affection. The Marquis and the Marquise were always in love with one another, throughout their extended married life of more than half a century; and in that age of light loves and cynical relationships, even baseless ill-nature never found any serious charge of frivolity to bring against this gracious lady.

It is true that it could not be difficult to show complaisance to Catherine de Rambouillet. She was never dull, never inattentive, never indiscreet. We hear that she had an extraordinary native gift for being present when she was wanted, and occupied elsewhere when her company would have been inconvenient. As years grew upon her, it seems as though this instinct for pleasing became a little too emphatic. Almost the only fault which any chronicler brings against her is that, towards the end, she was not critical enough, that she liked too many people, that her individuality melted into a general indulgence. But she was surrounded by petulant poets and snarling courtiers, and that this mild censure of her should be insinuated is, probably, but another tribute to her tact.

She was like Milton's Lady; not indeed "chained up in alabaster," but serene, open-eyed and gay in the midst of a monstrous rout of ambitions and vanities which often resembled "stabled wolves or tigers at their prey." One of her most striking characteristics obviously was her power of ruling a society from its centre without making her rule oppressive.

All the anecdotes of her discipline in her _salon_ show the coolness of her judgment and the velvet strength of her hand. She was capable of strong dislike, yet with an Italian faculty for concealing it. She hated Louis XIII to the inmost fibre of her being, for what seemed to her his despicable qualities, yet he never discovered it.

Those who regard Catherine de Rambouillet as one of the most engaging figures of Europe in the seventeenth century, must regret that, from an age where portrait-painting was so largely cultivated, no picture of her has come down to us. All we know is that she was beautiful and tall; the poets compared her to a pine tree. It was supposed that she never consented to sit to a painter, but M. Magne has discovered that there were portraits. Scudery, he believes, possessed engravings from paintings by Van Mol and by du Cayer. The earlier of these, painted in 1645, represented her gazing at the dead body of her father. These works of art appear to be hopelessly lost. We are thrown back on the written "portraits," in the alembicated style of the middle of the century, which adorn a host of novels and poems. Of these the fullest is that introduced by Madeleine de Scudery into the seventh volume of her huge romance, _Le Grand Cyrus_. M. Emile Magne, confronted with the "precious" terms of this description, and the vagueness of it, loses his temper with poor Mlle. de Scudery, whom he calls _cette pecore_. It is true that the physical details which would interest us are omitted, but it is hardly true to say, that "il est impossible de rien demeler au griffonage [de Mlle. de Scudery], sinon que Mme. de Rambouillet etait belle." This is not quite just, and to avenge the great Madeleine for being called a _pecore_, I will quote, what M. Magne surprisingly omits, part of the character of Cleomire, the pseudonym of Mme. de Rambouillet in _Cyrus_:

She is tall and graceful. The delicacy of her complexion is beyond expression. The eyes of Cleomire are so admirably beautiful that no painter has ever been able to do justice to them. All her pa.s.sions are in subjection to her good sense.

This might be more precise, but the touch about the eyes is helpful.

Chapelain celebrated (in 1666, just after her death)

Cet air, cette douceur, cette grace, ce port, Ce chef d'uvre admire du Midi jusqu'au Nord;

And Tallemant, always the best reporter, speaks of the permanent beauty of her complexion, which she would never consent to touch artificially.

The only concession to fashion which she made in old age was to rouge her lips, which had turned blue. Tallemant wished she would not do even this. When she was very old, her head shook with a sort of palsy; this was attributed to her having indulged too much in the eating of pounded ambergris, but perhaps a more obvious reason could be found for so natural an infirmity.

In an age so troubled and so turbulent as that of Henri IV, public attention was concentrated in wonderment on the serene beat.i.tude of the Rambouillets. "So rest, for ever rest, O princely pair!" the admiring court might be conceived as saying to a couple so dignified, so calm and so unaffected in their attachment. "Tout le monde admire la magnifique entente, a travers leur vie limpide, du Marquis et de la Marquise."

Their limpid life--that was the just description of a mode of conduct so rare in that age, and at that social elevation, as to be relatively unique. What existences the reverse of limpid, lives tortured and turbid and mud-stained, do memoir-writers of that time, the Segrais and the Tallemants, reveal on all sides of them! Both were gifted, and each was persuaded of the excellence of learning and literature, although in talents the wife considerably surpa.s.sed the husband. Madame de Rambouillet was versed in several literatures. She spoke Italian and Spanish, the two fashionable languages of the time, to perfection. She loved all beautiful objects, and not one of the fine arts failed to find eager appreciation from her. In order to enjoy the sources of poetic distinction, she taught herself Latin, that she might read Virgil in the original. But she soon relaxed these studies, which might easily have landed her in pedantry. She became the mother of seven children, to whose bringing-up she gave strict attention. She found that her health, although her const.i.tution was good, needed care. Perhaps she gave way, a little, to an amiable Italian indolence; at all events, the strenuousness which her early years had threatened subsided into a watchful, hospitable, humorous and memorable hospitality. If there could be rank maintained in such matters, Madame de Rambouillet would probably take place as the most admirable hostess in history.

But, to entertain, a house was needed. The old Marquis de Pisani had bought, in 1599, a ramshackle dwelling, close to the Louvre, in the Rue Saint-Thomas, which became, at his death, the property of his daughter.

In 1604 when, it is to be noted, she was only sixteen years of age, she pulled it down and built the famous Hotel on the site.

Young as she was, it is certain that the Marquise was herself the architect of the Hotel de Rambouillet. A professional architect had been called in to rebuild the house, but when he submitted his designs to her they dissatisfied her by their conventionality. Tallemant describes them--a saloon on one side, a bedroom on the other, a staircase in the middle, nothing could be more poor. Moreover, the courtyard was pinched in extent and irregular in shape. One evening, after she had been dreaming over the drawings, the young Marquise called out "Quick! some paper! I have thought of what I want!" She had been trained to use a pencil, and she immediately drew out an elevation, which the builders followed point by point. Her design was so bold, so original, and so handsome, that the house made a sensation in Paris. The Queen-Mother, when she built the Luxembourg, sent her architects to study the Hotel de Rambouillet before they started their plans.