The greatest masterpiece of man is… to be born at the right time.
We append a saying of Montaigne's not found in Mr. St. John's collection:—
There is no so good man who so squares all his thoughts and actions to the laws, that he is not faulty enough to deserve hanging ten times in his life.
Montaigne was too intensely an egotist, in his character as man no less than in his character as writer, to have many personal relations that exhibit him in aspects engaging to our love. But one friendship of his is memorable,—is even historic. The name of La Boëtie is forever associated with the name of Montaigne. La Boëtie is remarkable for being, as we suppose, absolutely the first voice raised in France against the idea of monarchy. His little treatise "Contr' Un" (literally, "Against One"), or "Voluntary Servitude," is by many esteemed among the most important literary productions of modern times. Others, again, Mr. George Saintsbury for example, consider it an absurdly overrated book. For our own part, we are inclined to give it conspicuous place in the history of free thought in France. La Boëtie died young; and his "Contr' Un" was published posthumously,—first by the Protestants, after the terrible day of St. Bartholomew. Our readers may judge for themselves whether a pamphlet in which such passages as the following could occur, must not have had an historic effect upon the inflammable sentiment of the French people. We take Mr. Bayle St. John's translation, bracketing a hint or two of correction suggested by comparison of the original French. The treatise of La Boëtie is sometimes now printed with Montaigne's "Essays," in French editions of our author's works: La Boëtie says:—
You sow your fruits [crops] that he [the king] may ravage them; you furnish and fill your houses that he may have something to steal; you bring up your daughters that he may slake his luxury; you bring up your sons that he may take them to be butchered in his wars, to be the ministers of his avarice, the executors of his vengeance; you disfigure your forms by labor [your own selves you inure to toil] that he may cocker himself in delight, and wallow in nasty and disgusting pleasure.
Montaigne seems really to have loved this friend of his, whom he reckoned the greatest man in France. His account of La Boëtie's death is boldly, and not presumptuously, paralleled by Mr. St. John with the "Phædon" of Plato. Noble writing, it certainly is, though its stateliness is a shade too self-conscious, perhaps.
We have thus far presented Montaigne in words of his own such as may fairly be supposed likely to prepossess the reader in his favor. We could multiply our extracts indefinitely in a like unexceptionable vein of writing. But to do so, and to stop with these, would misrepresent Montaigne. Montaigne is very far from being an innocent writer. His moral tone generally is low, and often it is execrable. He is coarse, but coarseness is not the worst of him. Indeed, he is cleanliness itself compared with Rabelais. But Rabelais is morality itself compared with Montaigne. Montaigne is corrupt and corrupting. This feature of his writings, we are necessarily forbidden to illustrate. In an essay written in his old age,—which we will not even name, its general tenor is so evil,—Montaigne holds the following language:—
I gently turn aside, and avert my eyes from the stormy and cloudy sky I have before me, which, thanks be to God, I regard without fear, but not without meditation and study, and amuse myself in the remembrance of my better years:—
["The mind desires what it has lost, and in fancy flings itself wholly into the past."]
Let childhood look forward, and age backward: is not this the signification of Janus' double face? Let years haul me along if they will, but it shall be backward; as long as my eyes can discern the pleasant season expired, I shall now and then turn them that way; though it escape from my blood and veins, I shall not, however, root the image of it out of my memory:—
["'Tis to live twice to be able to enjoy former life again."]
Harmlessly, even engagingly, pensive seems the foregoing strain of sentiment. Who could suppose it a prelude to detailed reminiscence on the author's part of sensual pleasures—the basest—enjoyed in the past? The venerable voluptuary keeps himself in countenance for his lascivious vein, by writing as follows:—
I have enjoined myself to dare to say all that I dare to do; even thoughts that are not to be published, displease me; the worst of my actions and qualities do not appear to me so evil, as I find it evil and base not to dare to own them....
…I am greedy of making myself known, and I care not to how many, provided it be truly.... Many things that I would not say to a particular individual, I say to the people; and, as to my most secret thoughts, send my most intimate friends to my book.... For my part, if any one should recommend me as a good pilot, as being very modest, or very chaste, I should owe him no thanks [because the recommendation would be false].
We must leave it—as, however, Montaigne himself is far enough from leaving it—to the imagination of readers to conjecture what "pleasures" they are, of which this worn-out debauchee (nearing death, and thanking God that he nears it "without fear") speaks in the following sentimental strain:—
In farewells, we oftener than not heat our affections towards the things we take leave of: I take my last leave of the pleasures of this world; these are our last embraces.
Mr. Emerson, in his "Representative Men," makes Montaigne stand for The Sceptic. Sceptic Montaigne was. He questioned, he considered, he doubted. He stood poised in equilibrium, in indifference, between contrary opinions. He saw reasons on this side, but he saw reasons also on that, and he did not clear his mind. "Que sçai-je?" was his motto ("What know I?"), a question as of hopeless ignorance,—nay, as of ignorance also void of desire to know. His life was one long interrogation, a balancing of opposites, to the end.
Such, speculatively, was Montaigne. Such, too, speculatively, was Pascal. The difference, however, was greater than the likeness, between these two minds. Pascal, doubting, gave the world of spiritual things the benefit of his doubt. Montaigne, on the other hand, gave the benefit of his doubt to the world of sense. He was a sensualist, he was a glutton, he was a lecher. He, for his portion, chose the good things of this life. His body he used to get him pleasures of the body. In pleasures of the body he sunk and drowned his conscience,—if he ever had a conscience. But his intelligence survived. He became, at last,—if he was not such from the first,—almost pure sense, without soul.
Yet we have no doubt Montaigne was an agreeable gentleman. We think we should have got on well with him as a neighbor of ours. He was a tolerably decent father, provided the child were grown old enough to be company for him. His own lawful children, while infants, had to go out of the house for their nursing; so it not unnaturally happened that all but one died in their infancy. Five of such is the number that you can count in his own journalistic entries of family births and deaths. But, speaking as "moral philosopher," in his "Essays," he says, carelessly, that he had lost "two or three" "without repining." This, perhaps, is affectation. But what affectation!
Montaigne was well-to-do; and he ranked as a gentleman, if not as a great nobleman. He lived in a castle, bequeathed to him, and by him bequeathed,—a castle still standing, and full of personal association with its most famous owner. He occupied a room in the tower, fitted up as a library. Over the door of this room may still, we believe, be read Montaigne's motto, "Que sçai-je?" Votaries of Montaigne perform their pious pilgrimages to this shrine of their idolatry, year after year, century after century.
For, remember, it is now three centuries since Montaigne wrote. He was before Bacon and Shakspeare. He was contemporary with Charles IX., and with Henry of Navarre. But date has little to do with such a writer as Montaigne. His quality is sempiternal. He overlies the ages, as the long hulk of "The Great Eastern" overlay the waves of the sea, stretching from summit to summit. Not that, in the form of his literary work, he was altogether independent of time and of circumstance. Not that he was uninfluenced by his historic place, in the essential spirit of his work.