August 15, 1871.—Re-read, for the second time, Renan’s “Vie de Jesus,” in the sixteenth popular edition. The most characteristic feature of this analysis of Christianity is that sin plays no part at all in it. Now, if anything explains the success of the gospel among men, it is that it brought them deliverance from sin—in a word, salvation. A man, however, is bound to explain a religion seriously, and not to shirk the very center of his subject. This white-marble Christ is not the Christ who inspired the martyrs and has dried so many tears. The author lacks moral seriousness, and confounds nobility of character with holiness. He speaks as an artist conscious of a pathetic subject, but his moral sense is not interested in the question. It is not possible to mistake the epicureanism of the imagination, delighting itself in an aesthetic spectacle, for the struggles of a soul passionately in search of truth. In Renan there are still some remains of priestly ruse; he strangles with sacred cords. His tone of contemptuous indulgence toward a more or less captious clergy might be tolerated, but he should have shown a more respectful sincerity in dealing with the sincere and the spiritual. Laugh at Pharisaism as you will, but speak simply and plainly to honest folk. [Footnote: “‘Persifflez les pharisaïsmes, mais parlez droit aux honnêtes gens’ me dit Amiel, avec une certaine aigreur. Mon Dieu, que les honnêtes gens sont souvent exposés à être des pharisiens sans le savoir!”—(M. Renan’s article, already quoted).]
Later.—To understand is to be conscious of the fundamental unity of the thing to be explained—that is to say, to conceive it in its entirety both of life and development, to be able to remake it by a mental process without making a mistake, without adding or omitting anything. It means, first, complete identification of the object, and then the power of making it clear to others by a full and just interpretation. To understand is more difficult than to judge, for understanding is the transference of the mind into the conditions of the object, whereas judgment is simply the enunciation of the individual opinion.
August 25, 1871. (Charnex-sur-Montreux).—Magnificent weather. The morning seems bathed in happy peace, and a heavenly fragrance rises from mountain and shore; it is as though a benediction were laid upon us. No vulgar intrusive noise disturbs the religious quiet of the scene. One might believe one’s self in a church—a vast temple in which every being and every natural beauty has its place. I dare not breathe for fear of putting the dream to flight—a dream traversed by angels.
In these heavenly moments the cry of Pauline rises to one’s lips. [Footnote: “Polyeuete,” Act. V. Scene v.
“I feel! I believe! I see!” All the miseries, the cares, the vexations of life, are forgotten; the universal joy absorbs us; we enter into the divine order, and into the blessedness of the Lord. Labor and tears, sin, pain, and death have passed away. To exist is to bless; life is happiness. In this sublime pause of things all dissonances have disappeared. It is as though creation were but one vast symphony, glorifying the God of goodness with an inexhaustible wealth of praise and harmony. We question no longer whether it is so or not. We have ourselves become notes in the great concert; and the soul breaks the silence of ecstasy only to vibrate in unison with the eternal joy.
September 22, 1871. (Charnex).—Gray sky—a melancholy day. A friend has left me, the sun is unkind and capricious. Everything passes away, everything forsakes us. And in place of all we have lost, age and gray hairs! … After dinner I walked to Chailly between two showers. A rainy landscape has a great charm for me; the dark tints become more velvety, the softer tones more ethereal. The country in rain is like a face with traces of tears upon it—less beautiful no doubt, but more expressive.
Behind the beauty which is superficial, gladsome, radiant, and palpable, the aesthetic sense discovers another order of beauty altogether, hidden, veiled, secret and mysterious, akin to moral beauty. This sort of beauty only reveals itself to the initiated, and is all the more exquisite for that. It is a little like the refined joy of sacrifice, like the madness of faith, like the luxury of grief; it is not within the reach of all the world. Its attraction is peculiar, and affects one like some strange perfume, or bizarre melody. When once the taste for it is set up the mind takes a special and keen delight in it, for one finds in it
and it is pleasant to one’s vanity not to be of the same opinion as the common herd. This, however, is not possible with things which are evident, and beauty which is incontestable. Charm, perhaps, is a better name for the esoteric and paradoxical beauty, which escapes the vulgar, and appeals to our dreamy, meditative side. Classical beauty belongs, so to speak, to all eyes; it has ceased to belong to itself. Esoteric beauty is shy and retiring. It only unveils itself to unsealed eyes, and bestows its favors only upon love.
This is why my friend –, who places herself immediately in relation with the souls of those she meets, does not see the ugliness of people when once she is interested in them. She likes and dislikes, and those she likes are beautiful, those she dislikes are ugly. There is nothing more complicated in it than that. For her, aesthetic considerations are lost in moral sympathy; she looks with her heart only; she passes by the chapter of the beautiful, and goes on to the chapter of charm. I can do the same; only it is by reflection and on second thoughts; my friend does it involuntarily and at once; she has not the artistic fiber. The craving for a perfect correspondence between the inside and the outside of things—between matter and form—is not in her nature. She does not suffer from ugliness, she scarcely perceives it. As for me, I can only forget what shocks me, I cannot help being shocked. All corporal defects irritate me, and the want of beauty in women, being something which ought not to exist, shocks me like a tear, a solecism, a dissonance, a spot of ink—in a word, like something out of order. On the other hand, beauty restores and fortifies me like some miraculous food, like Olympian ambrosia.
I will not finish, for after all one must resign one’s self, A beautiful soul in a healthy body is already a rare and blessed thing; and if one finds heart, common sense, intellect, and courage into the bargain, one may well do without that ravishing dainty which we call beauty, and almost without that delicious seasoning which we call grace. We do without—with a sigh, as one does without a luxury. Happy we, to possess what is necessary.
December 29, 1871.—I have been reading Bahnsen (“Critique de l’évolutionisme de Hegel-Hartmann, au nom des principes de Schopenhauer”). What a writer! Like a cuttle-fish in water, every movement produces a cloud of ink which shrouds his thought in darkness. And what a doctrine! A thoroughgoing pessimism, which regards the world as absurd, “absolutely idiotic,” and reproaches Hartmann for having allowed the evolution of the universe some little remains of logic, while, on the contrary, this evolution is eminently contradictory, and there is no reason anywhere except in the poor brain of the reasoner. Of all possible worlds that which exists is the worst. Its only excuse is that it tends of itself to destruction. The hope of the philosopher is that reasonable beings will shorten their agony and hasten the return of everything to nothing. It is the philosophy of a desperate Satanism, which has not even the resigned perspectives of Buddhism to offer to the disappointed and disillusioned soul. The individual can but protest and curse. This frantic Sivaism is developed from the conception which makes the world the product of blind will, the principle of everything.