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 examination. His influence upon the early part of the Revolution was so considerable, the effect of his death was so determinant and final, the speculation as to what might have happened had he survived is so fruitful, so entertaining, and so common, and the positive effect of his attitude upon the development of the Revolution after his death was so wide, that to misunderstand Mirabeau is in a large measure to misunderstand the whole movement; and Mirabeau has unfortunately been ill or superficially understood by many among now three generations of historians; for a comprehension of this character is not a matter for research nor for accumulated historic detail, but rather a task for sympathy.

Mirabeau was essentially an artist, with the powers and the frailties which we properly associate with that term: that is, strong emotion appealed to him both internally and externally. He loved to enjoy it himself, he loved to create it in others. He studied, therefore, and was a master of, the material by which such emotion may be created; he himself yielded to strong emotion and sought it where it might be found. It is foolish alike to belittle and to exaggerate this type of temperament. Upon it or upon its admixture with other qualities is based the music, the plastic art, and in a large measure the permanent literature of the world. This aptitude for the enjoyment and for the creation in others of emotion clothes intellectual work in a manner which makes it permanent. This