t illusions with which,
after all, the whole of human certainty is mingled. We throw ourselves
into these tragic affairs and become intoxicated with that which we are
about to do. Who knows? We may succeed. We are few in number, we have a
whole army arrayed against us; but we are defending right, the natural
law, the sovereignty of each one over himself from which no abdication
is possible, justice and truth, and in case of need, we die like the
three hundred Spartans. We do not think of Don Quixote but of Leonidas.
And we march straight before us, and once pledged, we do not draw
back, and we rush onwards with head held low, cherishing as our hope an
unprecedented victory, revolution completed, progress set free again,
the aggrandizement of the human race, universal deliverance; and in the
event of the worst, Thermopylae.

These passages of arms for the sake of progress often suffer shipwreck,
and we have just explained why. The crowd is restive in the presence of
the impulses of paladins. Heavy masses, the multitudes which are fragile
because of their very weight, fear adventures; and there is a touch of
adventure in the ideal.

Moreover, and we must not forget this, interests which are not very
friendly to the ideal and the sentimental are in the way. Sometimes the
stomach paralyzes the heart.

The grandeur and beauty of France lies in this, that she takes less from
the stomach than other nations: she more easily knots the rope about her
loins. She is the first awake, the last asleep. She marches forwards.
She is a seeker.

This arises from the fact that she is an artist.

The ideal is nothing but the culminating point of logic, the same as the
beautiful is nothing but the summit of the true. Artistic peoples are
also consistent peoples. To love beauty is to see the light. That is why
the torch of Europe, that is to say of civilization, was first borne by
Greece, who passed it on to Italy, who handed it on to France. Divine,
illuminating nations of scouts! Vitaelampada tradunt.

It is an admirable thing that the poetry of a people is the element of
its progress. The amount of civilization is measured by the quantity
of imagination. Only, a civilizing people should remain a manly people.
Corinth, yes; Sybaris, no. Whoever becomes effeminate makes himself a
bastard. He must be neither a dilettante nor a virtuoso: but he must be
artistic. In the matter of civilization, he must not refine, but he must
sublime. On