Such is his title, his personality and role. In this artificial and declamatory tragedy of the Revolution he takes the leading part; the maniac and the barbarian slowly retire in the background on the appearance of the cuistre; Marat and Danton finally become effaced, or efface themselves, and the stage is left to Robespierre who attracts all the attention.[87] - If we want to understand him we must look at him as he stands in the midst of his surroundings. At the last stage of a dying intellectual vegetation, on the last branch of the eighteenth century, he is the final freak and dried fruit of the classical spirit.[88] He has retained nothing of a worn-out system of philosophy but its lifeless dregs and well-conned formulae, the formulae of Rousseau, Mably, and Raynal, concerning "the people, nature, reason, liberty, tyrants, factions, virtue, morality," a ready-made vocabulary,[89] expressions too ample, the meaning of which, ill-defined by the masters, evaporates in the hands of the disciple. He never tries to get at this; his writings and speeches are merely long strings of vague abstract periods; there is no telling fact in them, no distinct, characteristic detail, no appeal to the eye evoking a living image, no personal, special observation, no clear, frank original impression. It might be said of him that he never saw anything with his own eyes, that he neither could nor would see, that false conceptions have intervened and fixed themselves between him and the object;[90] he combines these in logical sequence, and simulates the absent thought by an affected jargon, and this is all. The other Jacobins alongside of him likewise use the same scholastic jargon; but none of them spout and spread out so complacently and lengthily as he.
For hours, we grope after him in the vague shadows of political speculation, in the cold and perplexing mist of didactic generalities, trying in vain to make something out of his colorless tirades, and we grasp nothing.[91] When we, in astonishment, ask ourselves what all this talk amounts to, and why he talks at all; the answer is, that he has said nothing and that he talks only for the sake of talking, the same as a sectarian preaching to his congregation, neither the preacher nor his audience ever wearying, the one of turning the dogmatic crank, and the other of listening. So much the better if the container is empty; the emptier it is the easier and faster the crank turns. And better still, if the empty term he selects is used in a contrary sense; the sonorous words justice, humanity, mean to him piles of human heads, the same as a text from the gospels means to a grand inquisitor the burning of heretics. - Through this extreme perversity, the cuistre spoils his own mental instrument; thenceforth he employs it as he likes, as his passions dictate, believing that he serves truth in serving these.
Now, his first passion, his principal passion, is literary vanity.
Never was the chief of a party, sect or government, even at critical moments, such an incurable, insignificant rhetorician, so formal, so pompous, and so dull. - On the eve of the 9th of Thermidor, when it was a question of life or death, he enters the tribune with a set speech, written and re-written, polished and re-polished,[92]
overloaded with studied ornaments and bits for effect,[93] coated by dint of time and labor, with the academic varnish, the glitter of symmetrical antitheses, rounded periods, exclamations, omissions, apostrophes and other tricks of the pen.[94] - In the most famous and important of his reports,[95] I have counted eighty-four instances of personifications[96] imitated from Rousseau and the antique, many of them largely expanded, some addressed to the dead, to Brutus, to young Barra, and others to absentees, priests, and aristocrats, to the unfortunate, to French women, and finally to abstract substantives like Liberty and Friendship. With unshaken conviction and intense satisfaction, he deems himself an orator because he harps on the same old tune. There is not one true tone in his elaborate eloquence, nothing but recipes and only those of a worn-out art, Greek and Roman common-places, Socrates and the hemlock, Brutus and his dagger, classic metaphors like "the flambeaux of discord," and "the vessel of State,"[97]s coupled together and beauties of style which a pupil in rhetoric aims at on the college bench;[98]times a grand bravura air, so essential for parade in public;[99] centimes a delicate strain of the flute, for, in those days, one must have a tender heart;[100] in short, Marmontel's method in " Belisarius," or that of Thomas in his "Eloges," all borrowed from Rousseau, but of inferior quality, like a sharp, thin voice strained to imitate a rich, powerful voice. All is a sort of involuntary parody, and the more repulsive because a word ends in a blow, because a sentimental, declamatory Trissotin poses as statesman, because the studied elegance of the closet become pistol shots aimed at living breasts, because an epithet skillfully directed sends a man to the guillotine. - The contrast is too great between his talent and the part he plays. With such a talent, as mediocre and false as his intellect, there is no employment for which he is less suited than that of governing men; he was cut out for another, which, in a peaceable community, he would have been able to do. Suppress the Revolution, and Marat would have probably ended his days in an asylum.