sanctity of art, the lofty mission of the artist, the poesy of Catholicism, about Monsieur de La Mennais, about the painters of the angelic school, about the Council of Trent, about progressive humanity, and about a thousand other fine things.—Some infuse a little republicanism into their religion, they are not the least interesting. They couple Robespierre and Jesus Christ in the most cheerful way and amalgamate with praiseworthy gravity the Acts of the Apostles and the decrees of the Holy Convention—that is the sacramental title; others add, for a final ingredient, some Saint-Simonian ideas.—These latter are complete, they rest upon a square foundation; after them we can look for nothing better. Human absurdity can go no farther—has ultra metas—etc. They are the Hercules Pillars of Burlesque.
Christianity is so in vogue by reason of the prevailing hypocrisy, that even Neo-Christianity enjoys a certain amount of favor. They say that it can boast thus far one recruit, Monsieur Drouineau included.
An extremely interesting variety of the moral journalist, properly so-called, is the journalist with a female family.
He carries his modest sensitiveness to the point of anthropophagy, or very nearly that.
His mode of procedure, although it seems at the first glance simple and easy, is none the less clownish and superlatively entertaining, and in my opinion it deserves to be handed down to posterity—to our last nephews, as the old fogies of the so-called Grand Siècle used to say.
In the first place, to pose as a journalist of this variety, you need some few preliminary utensils—such as two or three legitimate wives, a few mothers, as many sisters as possible, a full assortment of daughters, and cousins innumerable.—The second requisite is a play or novel of some sort, a pen, ink, paper, and a printer. Perhaps it would be as well to have an idea or two and several subscribers; but you can do without them, if you have a large stock of philosophy and the shareholders' money.
When you have all these things you can set up as a moral journalist. The two following recipes, varied to suit the occasion, will suffice for the editorial part.
Models of Virtuous Articles Concerning a First Performance.
"After the literature of blood, the literature of mud; after the morgue and the galleys, the alcove and the brothel; after the rags stained by murder, the rags stained by debauchery; after," etc. (according to the necessity of the occasion and the available space, you can continue in this vein from six lines to fifty or more)—"this is as it should be.—This is where neglect of sacred doctrines and romantic licentiousness lead: the stage has become a school of prostitution where one dares not venture, save with fear and trembling, with a woman one respects. You come upon the faith of an illustrious name, and you are obliged to retire at the third act with your young daughter all confused and abashed. Your wife hides her blushes behind her fan; your sister, your cousin," etc. (The degrees of relationship may be diversified at pleasure; it is enough that they be all females.)
NOTE.—There is one man who has carried morality so far as to say: "I will not go to see that play with my mistress."—That man I admire and love; I carry him in my heart, as Louis XVIII. carried all France in his; for he has conceived the most triumphant, the most monumental, the most insane, the most extravagant idea that has passed through the brain of man in this blessed nineteenth century, which has seen the birth of so many and such amusing ideas.
The method of dealing with a book is very expeditious and within the range of every intellect:
"If you choose to read this book, lock yourself securely into your own room; do not leave it lying on the table. If your wife and your daughter should open it, they would be lost.—This is a dangerous book, it advises vicious habits. It would have made a great success, perhaps, in the time of Crébillon, in the houses of kept mistresses, at a duchess's select supper-parties; but now that morals are purified, now that the hand of the people has razed the rotten edifice of aristocracy, and that—etc., etc.—there must be in every work an idea—an idea—yes, a moral and religious idea which—an exalted and profound aim, answering to the needs of humanity; for it is a deplorable thing that young writers should sacrifice the most sacred things to success, and should expend their talent—a notable talent by the way—in lewd descriptions that would make a captain of dragoons blush."—(The virginity of the captain of dragoons is, after the discovery of America, the most delightful discovery that has been made for a long while.)—"The novel we are considering recalls Justine, the philosophic Thérèse, Félicia, Compère Matthieu, the Contes de Grécourt, the Priapées of the Marquis de Sade." The virtuous journalist is immensely erudite in the matter of filthy novels;—I am very curious to know why.
It may be obtained at Eugène Renduel's, Rue des Grands-Augustins, No. 22. A handsome volume in 8vo. with vignette. Price 7 francs 50 centimes.
Eccò—ecce—see it.
It is frightful to think that, through the fault of the newspapers, there are many honest manufacturers who have only these two recipes to live upon, they and the numerous families they employ.
Apparently I am the most monumentally immoral personage to be found in Europe or elsewhere; for I can see nothing more licentious in the novels and plays of the present day than in the novels and plays of an earlier time, and I find it difficult to understand why the ears of the gentlemen of the journals have suddenly become so Jansenically ticklish.
I do not believe that the most innocent newspaper man will dare to say that Pigault-Lebrun, Crébillon Fils, Louvet, Voisenon, Marmontel, and all other writers of novels and tales do not surpass in immorality, since there is such a thing as immorality, the most dissolute and licentious productions of Messieurs Such-an-one and So-and-so, whom I do not name out of regard for their modesty.
One must be most notoriously false to his convictions not to agree to that.
Let not the objection be made that I have cited names little known or unfavorably known. If I have not mentioned the brilliant, imperishable names, it is not because they will not support my assertion with the weight of their great authority.
The novels and tales of Voltaire, aside from the question of merit, are most assuredly no more suitable to be given as prizes to little slips of boarding-school misses than are the immoral tales of our friend the lycanthropist, or even the moral tales of the insipid Marmontel.
What do we find in the comedies of the great Molière? the sacred institution of marriage—as the catechism and the newspapers call it—scoffed at and ridiculed in every scene.
The husband is old, ugly, and peevish; he wears his wig awry; his coat is out of fashion; he has a bill-headed cane, a nose smeared with snuff, short legs, and a paunch as fat as a budget.—He stammers, says nothing but foolish things, and does as many as he says; he sees nothing, he hears nothing; his wife is kissed before his face, and he has no idea what is going on; that state of things lasts until he is well and duly proved a cuckold in his own eyes and in the eyes of the whole audience, who are mightily edified and applaud in a way to bring the walls down.
They who applaud the loudest are they who are the most married.
In Molière, marriage is named George Dandin or Sganarelle.
Adultery is Damis or Clitandre; there is no name sweet and charming enough for it.
The adulterer is always young, handsome, well-made, and a marquis at the very least. He enters from the wings humming the very latest waltz; he takes one or two steps on the stage with the most deliberate, all-conquering air imaginable; he scratches his ear with the pink nail of his deftly spread little finger; he combs his lovely fair hair with his tortoise-shell comb, and arranges his ruffles, which are of great volume. His doublet and his hose
