I confess that I do indeed revel in these sweet moments, and prolong as far as I can the pleasure it gives me to meditate in the comfortable warmth of my bed. What scene can adapt itself so well to the imagination, and awaken such delicious ideas, as the couch on which my fancy floats me into the forgetfulness of self! Here it is that the mother, intoxicated with joy at the birth of a son, forgets her pangs. Hither it is that fantastic pleasures, the fruit of fancy or of hope, come to agitate us. In a word, it is here that during one half of a lifetime we forget the annoyances of the other half.
But what a host of thoughts, some agreeable, some sad, throng my brain at once—strange minglings of terrible and delicious pictures!
A bed sees us born, and sees us die. It is the ever changing scene upon which the human race play by turns interesting dramas, laughable farces, and fearful tragedies. It is a cradle decked with flowers. A throne of love. A sepulchre.
VI
This chapter is for metaphysicians, and for metaphysicians only. It will throw a great light upon man’s nature. It is the prism with which to analyze and decompose the human faculties, by separating the animal force from the pure rays of intellect.
It would be impossible for me to explain how I came to burn my fingers at the very onset of my journey without expounding to my reader my system of the Soul and the Animal
.1 And besides, this metaphysical discovery has so great an influence on my thoughts and actions, that it would be very difficult to understand this book if I did not begin by giving the key to its meaning.
Various observations have enabled me to perceive that man is made up of a soul and an animal. These two beings are quite distinct, but they are so dovetailed one into the other, or upon the other, that the soul must, if we would make the distinction between them, possess a certain superiority over the animal.
I have it from an old professor (and this is as long ago as I can remember), that Plato used to call matter the other. This is all very well; but I prefer giving this name par excellence to the animal which is joined to our soul. This substance it is which is really the other, and which plays such strange tricks upon us. It is easy enough to see, in a sort of general way, that man is twofold. But this, they say, is because he is made up of soul and body; and they accuse the body of I don’t know how many things, and very inconsistently, seeing that it can neither feel nor think. It is upon the animal that the blame should fall; upon that sensitive being, which, while it is perfectly distinct from the soul, is a real individual, enjoying a separate existence, with its own tastes, inclinations, and will, and which only ranks higher than other animals, because it is better educated than they, and is provided with more perfect organs.
Ladies and gentlemen! Be as proud of your intellect as you please, but be very suspicious of the other, especially when you are together.
I have experimented, I know not how oft, upon the union of these two heterogeneous creatures. I have, for instance, clearly ascertained that the soul can make herself obeyed by the animal, and that, by way of retaliation, the animal makes the soul act contrary to its own inclination. The one, as a rule, has the legislative, the other the executive power, but these two are often at variance. The great business of a man of genius is to train his animal well, in order that it may go alone, while the soul, delivered from this troublesome companion, can raise herself to the skies.
But this requires illustration. When, sir, you are reading a book, and an agreeable idea suddenly enters your imagination, your soul attaches herself to the new idea at once, and forgets the book, while your eyes follow mechanically the words and lines. You get through the page without understanding it, and without remembering what you have read. Now this is because your soul, having ordered her companion to read to her, gave no warning of the short absence she contemplated, so that the other went on reading what the soul no longer attended to.
VII
Is not this clear to you? Let us illustrate it still farther.
One day last summer at an appointed hour, I was wending my way to court. I had been sketching all day, and my soul, choosing to meditate upon painting, left the duty of taking me to the king’s palace to the animal.
How sublime, thought my soul, is the painter’s art! Happy is he who is touched by the aspect of nature, and does not depend upon his pictures for a livelihood; who does not paint solely as a pastime, but struck with the majesty of a beautiful form, and the wonderful way in which the light with its thousand tints plays upon the human face, strives to imitate in his works the wonderful effects of nature! Happy, too, is the painter who is led by love of landscape into solitary paths, and who can make his canvas breathe the feeling of sadness with which he is inspired by a gloomy wood or a desert plain. His productions imitate and reproduce nature. He creates new seas and dark caverns into which the sun has never peered. At his command, coppices of evergreens spring into life, and the blue of heaven is reflected on his pictures. He darkens the air, and we hear the roar
