In George Sand's piece, Moliere was at work with his servant, Laforet, who could not read, but without whom, it appears, he could not have written a line. He has not finished his play, the actors have not learnt their parts, and the king is impatient at being kept waiting. Moliere is perplexed, and, not knowing what to do, he decides to go to sleep. The Muse appears to him, styles him "the light of the people," and brings to him all the ghosts of the great poets before him. AEschylus, Sophocles, Euripides and Shakespeare all declare to him that, in their time, they had all worked towards preparing the Revolution of 1848.
Moliere then wakes up, and goes on to the stage to pay his respects to the king. The king has been changed, though. "I see a king,"says Moliere, "but his name is not Louis XIV. It is the people, the sovereign people. That is a word I did not know, a word as great as eternity."We recognize the democrat in all this. _Le Roi_ _attend_ may be considered as an authentic curiosity of revolutionary art.
The newspaper announced to its readers that subscriptions could be paid in the Rue Richelieu. Subscribers were probably not forthcoming, as the paper died a natural death after the third number.
George Sand did much more than this, though.[44] We must not forget that she was an official publicist in 1848. She had volunteered her services to Ledru-Rollin, and he had accepted them. "I am as busy as a statesman," she wrote at this time. "I have already written two Government circulars."[45]
[44] With regard to George Sand's _role_, see _La Revolution de_ 1848, by Daniel Stern (Madame d'Agoult).
[45] _Correspondance:_ To Maurice Sand, March 24, 1848.
With George Sand's collaboration, the _Bulletin de la Republique_became unexpectedly interesting. This paper was published every other day, by order of Ledru-Rollin, and was intended to establish a constant interchange of ideas and sentiments between the Government and the people. "It was specially addressed to the people of rural districts, and was in the form of a poster that the mayor of the place could have put up on the walls, and also distribute to the postmen to be given away. The _Bulletins_ were anonymous, but several of them were certainly written by George Sand.
The seventh is one of these, and also the twelfth. The latter was written with a view to drawing the attention of the public to the wretched lot of the women and girls of the lower classes, who were reduced to prostitution by the lowness of their wages.
Their virginity is an object of traffic," we are told, "quoted on the exchange of infamy." The sixteenth _Bulletin_ was simply an appeal for revolt. George Sand was looking ahead to what ought to take place, in case the elections did not lead to the triumph of social truth.
"The people," she hoped, "would know their duty. There would, in that case, be only one way of salvation for the people who had erected barricades, and that would be to manifest their will a second time, and so adjourn the decisions of a representation that was not national." This was nothing more nor less than the language of another Fructidor. And we know what was the result of words in those days. The _Bulletin_ was dated. the 15th, and on the 17th the people were on the way to the Hotel de Ville. These popular movements cannot always be trusted, though, as they frequently take an unexpected turn, and even change their direction when on the way.
It happened this time that the manifestation turned against those who were its instigators. Shouts were heard that day in Paris of _"Death to the Communists"_ and _"Down with Cabet_." George Sand could not understand things at all. This was not in the programme, and she began to have her doubts about the future of the Republic--the real one, that of her friends.
It was much worse on the 15th of May, the day which was so fatal to Barbes, for he played the part of hero and of dupe on that eventful day. Barbes was George Sand's idol at that time.
It was impossible for her to be without one, although, with her vivid imagination, she changed her idols frequently. With her idealism, she was always incarnating in some individual the perfections that she was constantly imagining. It seems as though she exteriorized the needs of her own mind and put them into an individual who seemed suitable to her for the particular requirements of that moment.
At the time of the monarchy, Michel of Bourges and Pierre Leroux had been able to play the part, the former of a radical theorician and the latter of the mystical forerunner of the new times.
At present Barbes had come on to the scene.
He was a born conspirator, the very man for secret societies.
He had made his career by means of prisons, or rather he had made prison his career, In 1835, he had commenced by helping thirty of the prisoners of April to escape from Sainte-Pelagie.
At that time he was affiliated to the _Societe des Familles_.
The police discovered a whole arsenal of powder and ammunition at the house in the Rue de Lourcine, and Barbes was condemned to prison for a year and sent to Carcassonne, where he had relatives.
When he left prison, the _Societe des Saisons_ had taken the place of the _Societe des Familles_. With Blanqui's approval, Barbes organized the insurrection of May 12 and 13, 1830.
This time blood was shed. In front of the Palais de Justice, the men, commanded by Barbes, had invited Lieutenant Droulneau to let them enter. The officer replied that he would die first.
He was immediately shot, but Barbes was sentenced to death for this.
Thanks to the intervention of Lamartine and Victor Hugo, his life was spared, but he was imprisoned at Mont Saint-Michel until 1843, and afterwards at Nimes. On the 28th of February, 1848, the Governor of Nimes prison informed him that he was free. He was more surprised and embarrassed than pleased by this news.
"I was quite bewildered," he owned later on, "by this idea of leaving prison. I looked at my prison bed, to which I had grown so accustomed.
