Abstract

In lieu of an abstract, here is a brief excerpt of the content:Michelet and Social Romanticism: Religion, Revolution, NatureArthur MitzmanIn 1851, shortly before his second and definitive suspension from his teaching at the Collège de France, Jules Michelet told a young friend of his dissatisfaction with the meager political impact of the Republican professors of the time: “Our present propaganda... has resembled strongly that which might be made by a man enclosed in a crystal glass. He finds his voice to be resounding and very strong: that’s because it breaks against the inner surface. But those who are outside, the men of the people, hear nothing.” 1Michelet had become painfully aware of how little his voice had been heard outside the crystal in June 1848, when barricade-builders outside his house on the Rue des Postes responded to his son-in-law’s appeal not to expose the dwelling of the great historian to artillery fire by asking, “Who is Michelet?” 2 This occurred two years after the publication of Le Peuple and only months after the appearance of his celebration of the commoners’ festivals of federation in 1790, both texts being landmarks in the social romantic anticipation of 1848. In fact it was the 1848 Revolution itself that had diminished the resonance of Michelet’s ideas, by polarizing the country in a way that made it impervious to his message of social harmony.Before 1848, Michelet was a central figure in the intellectual disaffection that delegitimized the July Monarchy. His work in the 1840s had shifted from the historical erudition of his many-volumed Histoire de France to contemporary polemics against the clergy and the government: attacks on the Jesuits and the Church 3 swiftly broadened to a conflict with the intellectual and political establishment of the period. In Le Peuple (1846), Michelet combined an analysis of the profound social divisions within the French nation with a remarkable sketch of the relation between civilization and nature, a Rousseauian appeal to the natural qualities of the common people and an [End Page 659] invocation of the genius of the future, who would be gifted with “the two sexes of the spirit.”Le Peuple was the first of a series of works on nature, women, and the common people, those three “others” of nineteenth-century high culture, that have throughout this century fascinated cultural historians. In the historiographical tradition, its author has been celebrated by those who viewed him as their predecessor in the broadening of history-writing to include culture and mentalities, such as Lucien Febvre and Jacques Le Goff, and denigrated by those, like Pieter Geyl, who have been outraged by his nationalistic pathos and his blatant subjectivity. 4 I shall suggest in this essay that all of these aspects of Michelet’s work are rooted in his significance in the 1840s as a social romantic, the contemporary and friend of George Sand, Lamennais, Pierre Leroux, and others.For apart from what Michelet has come to mean, as totem or as scarecrow, to the scholarship of the twentieth century, he was enmeshed in the ideological conflicts of his own time. Without an understanding of those conflicts, an important perspective on his place in the history of ideas will be missing, a perspective which, moreover, may shed some light on the broader historical significance of the social romanticism he represented. For example, the “ideological” Michelet was best known in his own time as an anti-clerical. 5 Indeed, his version of the Romantic évangile éternel, which he developed in the 1840s, takes a privileged place among the efforts of intellectuals in the first half of the nineteenth century to work out new religious conceptions to replace a moribund Catholicism. 6 Yet the principal framework of his polemical activity was not the Church but the liberal academic establishment, with which he was at war from his 1843 lectures on the Jesuits to his dismissal from his official functions at the beginning of the Second Empire.Michelet and the July Monarchy: From Liberalism to Social RomanticismSeen from the standpoint of the early years of his career, roughly 1825 to 1835, Michelet would seem an improbable candidate for any kind of romanticism. Given his impoverished, artisan background as well...