Life of St. Francis of Assisi, Paul Sabatier [ebook reader with android os txt] 📗

welcome him who comes to him. Conversion, perfection, sanctification become the pre-eminent religious acts. Worship and prayer cease to be incantations and become reflection, meditation, virile effort; while in religions of the first class the clergy have an essential part, as intermediaries between heaven and earth, in those of the second they have none, each conscience entering into direct relations with God.

It was reserved to the prophets of Israel to formulate, with a precision before unknown, the starting-point of spiritual worship.

Bring no more vain offerings;
I have a horror of incense,
Your new moons, your Sabbaths, and your assemblies;
When you multiply prayers I will not hearken.
Your hands are full of blood,
Wash you, make you clean,
Put away from before my eyes the evil of your ways,
Cease to do evil,
Learn to do well.[7]

With Isaiah these vehement apostrophes are but flashes of genius, but with Jesus the interior change becomes at once the principle and the end of the religious life. His promises were not for those who were right with the ceremonial law, or who offered the greatest number of sacrifices, but for the pure in heart, for men of good will.

These considerations are not perhaps without their use in showing the spiritual ancestry of the Saint of Assisi.

For him, as for St. Paul and St. Augustine, conversion was a radical and complete change, the act of will by which man wrests himself from the slavery of sin and places himself under the yoke of divine authority. Thenceforth prayer, become a necessary act of life, ceases to be a magic formula; it is an impulse of the heart, it is reflection and meditation rising above the commonplaces of this mortal life, to enter into the mystery of the divine will and conform itself to it; it is the act of the atom which understands its littleness, but which desires, though only by a single note, to be in harmony with the divine symphony.

Ecce adsum Domine, ut faciam voluntatem tuam.

When we reach these heights we belong not to a sect, but to humanity; we are like those wonders of nature which the accident of circumstances has placed upon the territory of this or that people, but which belong to all the world, because in fact they belong to no one, or rather they are the common and inalienable property of the entire human race. Homer, Shakespeare, Dante, Goethe, Michael Angelo, Rembrandt belong to us all as much as the ruins of Athens or Rome, or, rather, they belong to those who love them most and understand them best.

But that which is a truism, so far as men of genius in the domain of imagination or thought are concerned, still appears like a paradox when we speak of men of religious genius. The Church has laid such absolute claim to them that she has created in her own favor a sort of right. It cannot be that this arbitrary confiscation shall endure forever. To prevent it we have not to perform an act of negation or demolition: let us leave to the chapels their statues and their relics, and far from belittling the saints, let us make their true grandeur shine forth.

* * * * *

It is time to say a few words concerning the difficulties of the work here presented to the public. History always embraces but a very feeble part of the reality: ignorant, she is like the stories children tell of the events that have occurred before their eyes; learned, she reminds us of a museum organized with all the modern improvements. Instead of making you see nature with its external covering, its diffuse life, its mysterious echoes in your own heart, they offer you a herbarium.

If it is difficult to narrate an ordinary event of our own time, it is far more so to describe the great crises where restless humanity is seeking its true path.

The first duty of the historian is to forget his own time and country and become the sympathetic and interested contemporary of what he relates; but if it is difficult to give oneself the heart of a Greek or a Roman, it is infinitely more so to give oneself a heart of the thirteenth century. I have said that at that period the Middle Age was twenty years old, and the feelings of the twentieth year are, if not the most fugitive, at least the most difficult to note down. Everyone knows that it is impossible to recall the feelings of youth with the same clearness as those of childhood or mature age. Doubtless we may have external facts in the memory, but we cannot recall the sensations and the sentiments; the confused forces which seek to move us are then all at work at once, and to speak the language of beyond the Rhine, it is
the essentially phenomenal hour of the phenomena that we are; everything in us crosses, intermingles, collides, in desperate conflict: it is a time of diabolic or divine excitement. Let a few years pass, and nothing in the world can make us live those hours over again. Where was once a volcano, we perceive only a heap of blackened ashes, and scarcely, at long intervals, will a chance meeting, a sound, a word, awaken memory and unseal the fountain of recollection; and even then it is only a flash; we have had but a glimpse and all has sunk back into shadow and silence.

We find the same difficulty when we try to take note of the fiery enthusiasms of the thirteenth century, its poetic inspirations, its amorous and chaste visions--all this is thrown up against a background of coarseness, wretchedness, corruption, and folly.

The men of that time had all the vices except triviality, all the virtues except moderation; they were either ruffians or saints. Life was rude enough to kill feeble organisms; and thus characters had an energy unknown to-day. It was forever necessary to provide beforehand against a thousand dangers, to take those sudden resolutions in which one risks his life. Open the chronicle of Fra Salimbeni and you will be shocked to find that the largest place is taken up with the account of the annual expeditions of Parma against the neighboring cities, or of the neighboring cities against Parma. What would it have been if this chronicle, instead of being written by a monk of uncommonly open mind, a lover of music, at certain times an ardent Joachimite, an indefatigable traveller, had been written by a warrior? And this is not all; these wars between city and city were complicated with civil dissensions, plots were hatched periodically, conspirators were massacred if they were discovered, or massacred and exiled others in their turn if they were triumphant.[8] When we picture to ourselves this state of things dominated by the grand struggles of the papacy against the empire, heretics, and infidels, we may understand how difficult it is to describe such a time.

The imagination being haunted by horrible or entrancing pictures like those of the frescos in the Campo Santo of Pisa, men were always thinking of heaven and hell; they informed themselves about them with the feverish curiosity of emigrants, who pass their days on shipboard in trying to picture that spot in America where in a few days they will pitch their tent.

Every monk of any notoriety must have gone through this. Dante's poem is not an isolated work; it is the noblest result of a condition which had given birth to hundreds of compositions, and Alighieri had little more to do than to co-ordinate the works of his predecessors and vivify them with the breath of his own genius.

The unsettled state of men's minds was unimaginable. That unhealthy curiosity which lies at the bottom of the human heart, and which at the present day impels men to seek for refined and even perverse enjoyments, impelled men of that time to devotions which seem like a defiance to common sense.

Never had hearts been shaken with such terrors, nor ever thrilled with such radiant hopes. The noblest hymns of the liturgy, the Stabat and the Dies Iræ , come to us from the thirteenth century, and we may well say that never has the human plaint been more agonized.

When we look through history, not to find accounts of battles or of the succession of dynasties, but to try to grasp the evolution of ideas and feelings, when we seek above all to discover the heart of man and of epochs, we perceive, on arriving at the thirteenth century, that a fresh wind has blown over the world, the human lyre has a new string, the lowest, the most profound; one which sings of woes and hopes to which the ancient world had not vibrated.

In the breast of the men of that time we think sometimes we feel the beating of a woman's heart; they have exquisite sentiments, delightful inspirations, with absurd terrors, fantastic angers, infernal cruelties. Weakness and fear often make them insincere; they have the idea of the grand, the beautiful, the ugly, but that of order is wanting; they fast or feast; the notion of the laws of nature, so deeply graven in our own minds, is to them entirely a stranger; the words possible and impossible have for them no meaning. Some give themselves to God, others sell themselves to the devil, but not one feels himself strong enough to walk alone, strong enough to have no need to hold on by some one's skirt.

Peopled with spirits and demons nature appeared to them singularly animated; in her presence they have all the emotions which a child experiences at night before the trees on the roadside and the vague forms of the rocks.

Unfortunately, our language is a very imperfect instrument for rendering all this; it is neither musical nor flexible; since the seventeenth century it has been deemed seemly to keep one's emotions to oneself, and the old words which served to note states of the soul have fallen into neglect; the Imitation and the Fioretti have become untranslatable.

More than this, in a history like the present one, we must give a large place to the Italian spirit; it is evident that in a country where they call a chapel basilica and a tiny house palazzo , or in speaking to a seminarist say "Your Reverence," words have not the same value as on this side of the Alps.

The Italians have an imagination which enlarges and simplifies. They see the forms and outlines of men and things more than they grasp their spirit. What they most admire in Michael Angelo is gigantic forms, noble and proud attitudes, while we better understand his secret thoughts, hidden sorrows, groans, and sighs.

Place before their eyes a picture by Rembrandt, and more often than not it will appear to them ugly; its charm cannot be caught at a glance as in those of their artists; to see it you must examine it, make an effort, and with them effort is the beginning of pain.

Do not ask them, then, to understand the pathos of things, to be touched by the mysterious and almost fanciful emotion which northern hearts discover and enjoy in the works of the Amsterdam master. No, instead of a forest they want a few trees, standing out clearly against the