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Updated: June 15, 2025
It is a wonderful figure of which you are conscious in the end, the figure of an archangel, but surely of an archangel of darkness. We will, after Taine's method, take one fact and let it speak for itself. Napoleon left a legacy in a codicil to his will to a man who tried to assassinate Wellington. There is the mediaeval Italian again!
Even in literary history it is surely nearer the truth to say of the latter half of the century that the revolutionary movement began with the break-up of classic form and the gradual dissolution of the classic spirit. Indeed this is such a commonplace of criticism, that we can only treat M. Taine's inversion of it as a not very happy paradox.
M. Taine's documents as a rule are not used by him as a foundation for his argument; no, he first takes his position, and then he consults his library, or he goes to the original records, with the hope of finding those documents that will support his reasoning.
It stands apart as a trenchant analysis of modern France, Taine's conclusions being that the Revolution, instead of establishing liberty, destroyed it. Taine died on March 5, 1893. I. The Architect of Modern France
We may admit that all five of the authors designated by Lowell are truly indispensable, just as we must accept also the incomparable position of the four leaders in the several arts whom Taine set apart in lonely elevation. But both Taine's list and Lowell's we feel to be too brief.
He does not content himself with telling us, for example, that one of his characters is a good man or a bad man, an able, a selfish, a tall, a blonde, or a stupid man, as the case may be. He takes every means to express his character, and to do it, according to M. Taine's definition of a work of art, more completely than it appears in nature.
That many of his stories were in the best sense "lived" there can be no doubt he has at odd times confessed it, confessions painfully wrung from him, as he is no friend of the interviewer. The white-hot sharpness of the impressions which he has projected upon paper recalls Taine's dictum: "les sensations sont des hallucinations vraies."
Aulard has published an important history of the Revolution which is a good corrective to Taine's; the Ministry of Public Instruction helps the publication of the documents drawn up to guide the States-General, a vast undertaking that sheds a flood of light on the economic condition of France in 1789.
He had a loop of the cord twisted around Taine's leg. But Taine screamed and screamed inside his spacesuit. It was odd that one could recognize the skipper even inside space armor. But Baird felt sick. He saw Taine received, still screaming, and carried into the lock. The skipper growled an infuriated demand for details. His space phone had come on, too, when its air supply began.
The scene in which Grandison returns to Italy to see Clementina, whose reason, it is feared, is threatened because of her grief over his loss, is genuinely effective and affecting. The mellifluous sentimentality, too, of the novelist seems to come to a climax in this book; justifying Taine's satiric remark that "these phrases should be accompanied by a mandolin."
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