18 January 1875 – 24 January 1875

The French mind, according to Gioberti, apprehends only the outward form of truth, and exaggerates it by isolating it, so that it acts as a solvent upon the realities with which it works. It takes the shadow for the substance, the word for the thing, appearance for reality, and abstract formula for truth. It lives in a world of intellectual assignats. If you talk to a Frenchman of art, of language, of religion, of the state, of duty, of the family, you feel in his way of speaking that his thought remains outside the subject, that he never penetrates into its substance, its inmost core. He is not striving to understand it in its essence, but only to say something plausible about it. On his lips the noblest words become thin and empty; for example—mind, idea, religion. The French mind is superficial and yet not comprehensive; it has an extraordinarily fine edge, and yet no penetrating power. Its desire is to enjoy its own resources by the help of things, but it has none of the respect, the disinterestedness, the patience, and the self-forgetfulness, which, are indispensable if we wish to see things as they are. Far from being the philosophic mind, it is a mere counterfeit of it, for it does not enable a man to solve any problem whatever, and remains incapable of understanding all that is living, complex, and concrete. Abstraction is its original sin, presumption its incurable defect, and plausibility its fatal limit. The French language has no power of expressing truths of birth and germination; it paints effects, results, the caput mortuum, but not the cause, the motive power, the native force the development of any phenomenon whatever. It is analytic and descriptive, but it explains nothing, for it avoids all beginnings and processes of formation. With it crystallization is not the mysterious act itself by which a substance passes from the fluid state to the solid state. It is the product of that act. The thirst for truth is not a French passion. In everything appearance is preferred to reality, the outside to the inside, the fashion to the material, that which shines to that which profits, opinion to conscience. That is to say, the Frenchman’s center of gravity is always outside him—he is always thinking of others, playing to the gallery. To him individuals are so many zeros; the unit which turns them into a number must be added from outside; it may be royalty, the writer of the day, the favorite newspaper, or any other temporary master of fashion. All this is probably the result of an exaggerated sociability, which weakens the soul’s forces of resistance, destroys its capacity for investigation and personal conviction, and kills in it the worship of the ideal.