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shutters, was Robespierre. They all turned to it loudly, and the
sentence was pronounced which some say God has executed—that
it should disappear and not be known again, and be hidden by high
walls and destroyed.
The house was silent, shut, blockaded. It was like a thing which is
besieged and which turns its least sentient outer part to its enemies.
It was beleaguered by the silent and unseen forces which we feel
pressing everywhere upon the living. For it contained the man who
had sent that cartload of his friends to death. Their fault had been to
preach the permanent sentiments of mankind, to talk of mercy, and
to recall in 1794 the great emotions of the early Revolution—the
desire for the Republic where every kind of man could sit and laugh
at the same table, the Republic of the Commensales. They were the
true heirs of the spirit of the Federations, and it was for this that they
were condemned. Even at this last moment there radiated from them
the warmth of heart that proceeds from a group of friends and lovers
till it blesses the whole of a nation with an equal affection. Theirs had
been the instinct of and the faith in the happy life of the world. It was
for this that the Puritan had struck them down; and yet it is the one
spirit that runs through any enduring reform, the only spirit that can
lead us at last to the Republic.
In a remote room, where the noise of the wheels could not reach
him, sat the man who, by some fatal natural lack or some sin of
ambition unrepented, had become the Inquisitor—the mad, narrow
enemy of mercy and of all good things.
For a moment he and his error had the power to condemn,
repeating a tragedy of which the world is never weary—the mean
thing was killing the great.
Nevertheless, if you will consider the men in the tumbril, you will
find them not to be pitied except for two things, that they were loved
by women whom they could not see, and that they were dying in the
best and latest time of their powerful youth. All these young men
were loved, and in other things they should be counted fortunate.
They had with their own persons already transformed the world.
Here the writer knew that his talent, the words he had so carefully
chosen and with such delight in his power, had not been wasted
upon praise or fortune, but had achieved the very object. There the
orator knew and could remember how his great voice had called up
the armies and thrown back the kings.
But if the scene was a tragedy, it was a tragedy of the real that
refused to follow the unities. All nature was at work, crowded into the
Revolutionary time, and the element that Shakespeare knew came in
of itself—the eternal comedy that seems to us, according to our
mood, the irony, the madness, or the cruelty of things, was fatally
present to make the day complete; and the grotesque, like a
discordant note, contrasted with and emphasised the terrible.
Fabre, who had best known how omnipresent is this complexity—
Fabre, who had said, “Between the giving and taking of snuff there is
a comedy”—furnished the example now. Danton hearing so much
weakness and so many groans from the sick man said, “What is your
complaint?” He answered, “I have written a play called ‘The Maltese
Orange,’ and I fear the police have taken it, and that some one will
steal it and get the fame.” Poor Fabre! It is lost, and no one has the
ridicule of his little folly. Danton answered him with a phrase to turn
the blood: “Tais toi! Dans une semaine tu feras assez de vers,” and
imposed silence. Nor did this satisfy Fate; there were other points in
the framework of the incongruous which she loves to throw round
terror. A play was running in the opera called the “10th of August;” in
this the Dantonists were represented on the stage. When the
Dantonists were hardly buried it was played again that very night,
and actors made up for Hérault and the rest passed before a public
that ignored or had forgotten what the afternoon had seen. More
than this, there was already set in type a verse which the street-
hawkers cried and sold that very night. For the sake of its
coincidence I will take the liberty of translating it into rhymed heroics:
—