Amiel's Journal: The Journal Intime of Henri-Frédéric Amiel. Henri Frédéric Amiel

have already a good deal cooled down. These scattered and fragmentary thoughts, falling upon one without a pause, like drops of light, tire, not my head, but reasoning power. The merits of Joubert consist in the grace of the style, the vivacity or finesse of the criticisms, the charm of the metaphors; but he starts many more problems than he solves, he notices and records more than he explains. His philosophy is merely literary and popular; his originality is only in detail and in execution. Altogether, he is a writer of reflections rather than a philosopher, a critic of remarkable gifts, endowed with exquisite sensibility, but, as an intelligence, destitute of the capacity for co-ordination. He wants concentration and continuity. It is not that he has no claims to be considered a philosopher or an artist, but rather that he is both imperfectly, for he thinks and writes marvelously, on a small scale. He is an entomologist, a lapidary, a jeweler, a coiner of sentences, of adages, of criticisms, of aphorisms, counsels, problems; and his book, extracted from the accumulations of his journal during fifty years of his life, is a collection of precious stones, of butterflies, coins and engraved gems. The whole, however, is more subtle than strong, more poetical than profound, and leaves upon the reader rather the impression of a great wealth of small curiosities of value, than of a great intellectual existence and a new point of view. The place of Joubert seems to me then, below and very far from the philosophers and the true poets, but honorable among the moralists and the critics. He is one of those men who are superior to their works, and who have themselves the unity which these lack. This first judgment is, besides, indiscriminate and severe. I shall have to modify it later.

      February 20th.—I have almost finished these two volumes of Pensées and the greater part of the Correspondance. This last has especially charmed me; it is remarkable for grace, delicacy, atticism, and precision. The chapters on metaphysics and philosophy are the most insignificant. All that has to do with large views with the whole of things, is very little at Joubert’s command; he has no philosophy of history, no speculative intuition. He is the thinker of detail, and his proper field is psychology and matters of taste. In this sphere of the subtleties and delicacies of imagination and feeling, within the circle of personal affectation and preoccupations, of social and educational interests, he abounds in ingenuity and sagacity, in fine criticisms, in exquisite touches. It is like a bee going from flower to flower, a teasing, plundering, wayward zephyr, an Aeolian harp, a ray of furtive light stealing through the leaves. Taken as a whole, there is something impalpable and immaterial about him, which I will not venture to call effeminate, but which is scarcely manly. He wants bone and body: timid, dreamy, and clairvoyant, he hovers far above reality. He is rather a soul, a breath, than a man. It is the mind of a woman in the character of a child, so that we feel for him less admiration than tenderness and gratitude.

      February 27, 1851.—Read over the first book of Emile. I was revolted, contrary to all expectation, for I opened the book with a sort of hunger for style and beauty. I was conscious instead of an impression of heaviness and harshness, of labored, hammering emphasis, of something violent, passionate, and obstinate, without serenity, greatness, nobility. Both the qualities and the defects of the book produced in me a sense of lack of good manners, a blaze of talent, but no grace, no distinction, the accent of good company wanting. I understood how it is that Rousseau rouses a particular kind of repugnance, the repugnance of good taste, and I felt the danger to style involved in such a model as well as the danger to thought arising from a truth so alloyed and sophisticated. What there is of true and strong in Rousseau did not escape me, and I still admired him, but his bad sides appeared to me with a clearness relatively new.

      (Same day.)—The pensée-writer is to the philosopher what the dilettante is to the artist. He plays with thought, and makes it produce a crowd of pretty things in detail, but he is more anxious about truths than truth, and what is essential in thought, its sequence, its unity, escapes him. He handles his instrument agreeably, but he does not possess it, still less does he create it. He is a gardener and not a geologist; he cultivates the earth only so much as is necessary to make it produce for him flowers and fruits; he does not dig deep enough into it to understand it. In a word, the pensée-writer deals with what is superficial and fragmentary. He is the literary, the oratorical, the talking or writing philosopher; whereas the philosopher is the scientific pensée-writer. The pensée-writers serve to stimulate or to popularize the philosophers. They have thus a double use, besides their charm. They are the pioneers of the army of readers, the doctors of the crowd, the money-changers of thought, which they convert into current coin. The writer of pensée is a man of letters, though of a serious type, and therefore he is popular. The philosopher is a specialist, as far as the form of his science goes, though not in substance, and therefore he can never become popular. In France, for one philosopher (Descartes) there have been thirty writers of pensées; in Germany, for ten such writers there have been twenty philosophers.

      March 25, 1851.—How many illustrious men whom I have known have been already reaped by death, Steffens, Marheineke, Neander, Mendelssohn, Thorwaldsen, Oelenschläger, Geijer, Tegner, Oersted, Stuhr, Lachmann; and with us, Sismondi, Töpffer, de Candolle, savants, artists, poets, musicians, historians. [Footnote: Of these Marheineke, Neander, and Lachmann had been lecturing at Berlin during Amiel’s residence there. The Danish dramatic poet Oelenschläger and the Swedish writer Tegner were among the Scandinavian men of letters with whom he made acquaintance during his tour of Sweden and Denmark in 1845. He probably came across the Swedish historian Geijer on the same occasion. Schelling and Alexander von Humboldt, mentioned a little lower down, were also still holding sway at Berlin when he was a student. There is an interesting description in one of his articles on Berlin, published in the Bibliothèque Universelle de Genève, of a university ceremonial there in or about 1847, and of the effect produced on the student’s young imagination by the sight of half the leaders of European research gathered into a single room. He saw Schlosser, the veteran historian, at Heidelberg at the end of 1843.] The old generation is going. What will the new bring us? What shall we ourselves contribute? A few great old men—Schelling, Alexander von Humboldt, Schlosser—still link us with the glorious past. Who is preparing to bear the weight of the future? A shiver seizes us when the ranks grow thin around us, when age is stealing upon us, when we approach the zenith, and when destiny says to us: “Show what is in thee! Now is the moment, now is the hour, else fall back into nothingness! It is thy turn! Give the world thy measure, say thy word, reveal thy nullity or thy capacity. Come forth from the shade! It is no longer a question of promising, thou must perform. The time of apprenticeship is over. Servant, show us what thou hast done with thy talent. Speak now, or be silent forever.” This appeal of the conscience is a solemn summons in the life of every man, solemn and awful as the trumpet of the last judgment. It cries, “Art thou ready? Give an account. Give an account of thy years, thy leisure, thy strength, thy studies, thy talent, and thy works. Now and here is the hour of great hearts, the hour of heroism and of genius.”

      April 6, 1851.—Was there ever any one so vulnerable as I? If I were a father how many griefs and vexations, a child might cause me. As a husband I should have a thousand ways of suffering because my happiness demands a thousand conditions I have a heart too easily reached, a too restless imagination; despair is easy to me, and every sensation reverberates again and again within me. What might be, spoils for me what is. What ought to be consumes me with sadness. So the reality, the present, the irreparable, the necessary, repel and even terrify me. I have too much imagination, conscience and penetration, and not enough character. The life of thought alone seems to me to have enough elasticity and immensity, to be free enough from the irreparable; practical life makes me afraid.

      And yet, at the same time it attracts me; I have need of it. Family life, especially, in all its delightfulness, in all its moral depth, appeals to me almost like a duty. Sometimes I cannot escape from the ideal of it. A companion of my life, of my work, of my thoughts, of my hopes; within, a common worship, toward the world outside, kindness and beneficence; educations to undertake, the thousand and one moral relations which develop round the first, all these ideas intoxicate me sometimes. But I put them aside because every hope is, as it were, an egg whence a serpent may issue instead of a dove, because every joy missed is a stab; because every seed confided to destiny contains an ear of grief which the future may develop.

      I am distrustful of myself and of happiness because I know myself. The ideal poisons