p>Chambers's Journal of Popular Literature, Science, and Art, No. 681 / January 13, 1877
A WASTED EXISTENCE
In every account of the French Revolution, there crop up names of actors in that terrible drama, not to be forgotten. The very vileness of these individuals has rendered their names imperishable. Execrated by successive generations, it would never occur to us that a time would come when, by a distortion of principle, literature would try to gloss over the evil deeds of these infamous personages, and hold them up to general admiration and pity. It would be imagined that Robespierre, Marat, St Just, Danton, Camille Desmoulins, Hebert, Couthon, and a number of others, were too bad – too persistently wicked – to evoke sentiments of compassion. Time, however, brings about unexpected changes. For anything we can tell, some plodding enthusiast may be ransacking archives, and gathering traditions to represent Robespierre as a noble-minded hero, whose character has been altogether misunderstood. Marat, too, may possibly soon be spoken of with gentle regret – as what a worthy young man he was when studying medicine at Edinburgh, and living in modest lodgings in the College Wynd, and so on; making him out to be a prodigy of excellence. As a commencement to this new and undesirable literature, comes a biography of Camille Desmoulins, by a French writer, Jules Claretie, purporting to be founded on hitherto unpublished documents, and which appears before us as an English translation. Not a paltry-looking book is it by any means, but a handsomely printed octavo, of nearly five hundred pages, embellished with a portrait of the hero Camille. After that nothing will surprise us.
Unless for a hope of drawing some useful moral for the benefit of young and ardent spirits, we should not have ventured on any notice of this extraordinary production. What the moral is, will appear as we go along. It may be worth while in the first place to say that Claretie, the writer of the book, almost worships his hero. He sets out by describing him as the 'gamin of genius, whom Paris attracted, seduced, and kept for ever;' and then, to let us know the fullest particulars of the wonderful gamin, he makes a pilgrimage to the small town of Guise, in Picardy, where Camille was born, 2d March 1760. The antique little town is gone through from end to end; and the house in which Camille first drew breath, and spent his early years, situated in the street of the Grand Pont, in front of the Place d'Armes, is minutely described. Claretie was shocked to find that the inhabitants of the town had no remembrance of his hero. 'They have forgotten their unfortunate townsman, the generous fool, the madcap of genius, who gave his life to the Republic – they have forgotten, after having misunderstood, and perhaps calumniated him.'
Camille's father occupied a good position. Skilled in the law, he was lieutenant-general of the bailiwick of Guise, and a grave and industrious man, highly esteemed by all within his jurisdiction. His wife had brought him a small fortune, which partly paid for the education of his five children, of whom Camille was the eldest. As this eldest boy grew up, great hopes were entertained of his intelligence and general liveliness. He should receive a good college education, and be brought up a man of law. Who knows but he might one day become a member of the Parliament of Paris? With some financial scheming, and the presentation of a bursary, Camille was entered a student at the college of Louis-le-Grand. Here, studying with avidity, and quick in apprehension, he attained a singular proficiency in a knowledge of Greek and Roman classics. Unfortunately, the more deeply he became acquainted with ancient authors, the more was his enthusiastic temperament stimulated to uphold in its wildest form the cause of political liberty. Nothing restrained his impassioned notions. Poring over the Old Testament, he discovered, as he thought, in a passage in Ezekiel that the Revolution was predicted word for word. Then, in his perturbed imaginings he began to write poetry, full of frantic allusions to the harangues of Demosthenes and Cicero. Completing his education, he became a licentiate of law, and in 1785 was sworn in as an advocate of the Parliament of Paris. His choice of a profession was somewhat of a mistake; for in the opening of a speech he usually stammered awkwardly, by involuntarily repeating the words hon, hon; wherefore, in fun, he acquired the name Monsieur Hon. It was only at the outset of an oration that he stumbled on hon, hon; for when once fairly set agoing he spoke fluently and with precision. Yet, the hon, hon was against him as a pleader, and he did not rise to distinction at the bar. The truth is, he was more ready as a writer than a speaker; and at the dawn of the Revolution he is found to be one of those pamphleteers who inconsiderately helped to stir up the wildest passions of the mob. To his relations in the antiquated town in Picardy he offered a painful spectacle. It was felt that his education and his brilliant talents had only qualified him to be a reckless demagogue. Sad down-come to the hopes of old Desmoulins, who had not the slightest desire to turn the world upside down.
Camille's infatuation was that of thousands, whose brains had been deranged not less by the teaching of so-called philosophers, than by the scandalous condition of public affairs. From causes familiar to all who have read the history of France, abuses of every sort had attained dimensions which nothing short of the most earnest and patient consideration could peaceably redress. Patient consideration, however, was the last thing thought of. The unfortunate Louis XVI. was unable to allay the general effervescence; and his ministers, though well-meaning in their way, were unfit to stem the political ferment. In July 1789, on the exile of Necker, the popular wrath was great. The great court-yard of the Palais-Royal, which we now see a picture of tranquillity with its nurses and children, was crowded with vehement orators. The most fiery of the whole is Camille Desmoulins, who jumps upon a table, and for the instant overcoming his stammer, addresses and adds fury to the surging multitude. The spark of armed revolt was struck. A day or two afterwards (July 14), the Bastille was assaulted and taken. In the midst of the hideous saturnalia, Camille is seen with a drawn sword in his hand, joining in the popular triumph.
From this time Camille is one of the leaders of the Revolution, by speaking at the clubs and using his pen freely. His work La France Libre (France Free) helped materially to give him notoriety. The book, however, dealt too much with liberty in the abstract. He deemed it necessary to hint at the advantages of doing summary justice on suspected individuals. Here was a scholar and a gentleman so carried off his feet by political frenzy as to write ironically of assassination. His production, animated with a terrible demoniac fury, was entitled Discours de la Lanterne aux Parisiens– in plain English, the iron of the street lamps is invoked as a convenient gallows on which to perform the atrocities of 'Lynch-law.' From this extraordinary and disreputable production, Camille became known as the 'procureur-général de la lanterne;' a designation which he did not dislike. Will it be credited? Claretie, who tells all this minutely, expresses no horror at the revelation. Speaking of the work, he says: 'There was never anything more eloquent. Its wit, even when it seems ill employed in deadly personalities, dazzles us.'
Conferring a feverish popularity on Camille, which was satisfying to his vanity, these productions were, it appears, of little pecuniary avail. He was now thirty years of age, with barely means of subsistence; such was his extremity, that he was driven to ask doles of money from his father, which could very ill be spared. From this state of depression his fortunes rose by the exercise of his pen as a journalist. His periodical was styled the Révolutions de France et de Brabant. It was successful, but only by the vileness of its lampoons and libels on private character, which brought him frequently into trouble. In his wild indiscretion, he even cut libellous jokes on M. Sanson, the public executioner, who, not inclining to submit to his impertinence, raised an action of damages to the extent of three thousand livres. Considering the way in which public affairs were drifting, an attack on Sanson was very much like an act of madness. The guillotine was soon to be in full swing.
Towards the end of 1790, Camille passed through what may be called the romance of his existence. He formed an ardent attachment to Lucille Duplessis, a young lady of a good family, handsome, beautiful, of gentle temperament, and whom he called 'an adorable little blonde.' M. Duplessis, the father, offered some opposition to the proposed match; but in time he assented to what seemed the inevitable, and accepting Camille as a son-in-law, gave him a good fortune with his daughter. The marriage took place December 29, 1790, and we observe that among Camille's friends as witnesses are inscribed the names of Petion and Robespierre.
While still pouring out invectives in his journal, there occurred a fresh
