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True genius is of necessity simple, or it is not genius. Simplicity alone gives it this character, and it cannot belie in the moral order what it is in the intellectual and aesthetical order. It does not know those rules, the crutches of feebleness, those pedagogues which prop up slippery spirits; it is only guided by nature and instinct, its guardian angel; it walks with a firm, calm step across all the snares of false taste, snares in which the man without genius, if he have not the prudence to avoid them the moment he detects them, remains infallibly imbedded. It is therefore the part only of genius to issue from the known without ceasing to be at home, or to enlarge the circle of nature without overstepping it. It does indeed sometimes happen that a great genius oversteps it; but only because geniuses have their moments of frenzy, when nature, their protector, abandons them, because the force of example impels them, or because the corrupt taste of their age leads them astray.

The most intricate problems must be solved by genius with simplicity, without pretension, with ease; the egg of Christopher Columbus is the emblem of all the discoveries of genius. It only justifies its character as genius by triumphing through simplicity over all the complications of art. It does not proceed according to known principles, but by feelings and inspiration; the sallies of genius are the inspirations of a God (all that healthy nature produces is divine); its feelings are laws for all time, for all human generations.

This childlike character imprinted by genius on its works is also shown by it in its private life and manners. It is modest, because nature is always so; but it is not decent, because corruption alone is decent. It is intelligent, because nature cannot lack intelligence; but it is not cunning, because art only can be cunning. It is faithful to its character and inclinations, but this is not so much because it has principles as because nature, notwithstanding all its oscillations, always returns to its equilibrium, and brings back the same wants. It is modest and even timid, because genius remains always a secret to itself; but it is not anxious, because it does not know the dangers of the road in which it walks. We know little of the private life of the greatest geniuses; but the little that we know of it–what tradition has preserved, for example, of Sophocles, of Archimedes, of Hippocrates, and in modern times of Ariosto, of Dante, of Tasso, of Raphael, of Albert Duerer, of Cervantes, of Shakespeare, of Fielding, of Sterne, etc.– confirms this assertion.

Nay, more; though this admission seems more difficult to support, even the greatest philosophers and great commanders, if great by their genius, have simplicity in their character. Among the ancients I need only name Julius Caesar and Epaminondas; among the moderns Henry IV. in France, Gustavus Adolphus in Sweden, and the Czar Peter the Great. The Duke of Marlborough, Turenne, and Vendome all present this character. With regard to the other sex, nature proposes to it simplicity of character as the supreme perfection to which it should reach. Accordingly, the love of pleasing in women strives after nothing so much as the appearance of simplicity; a sufficient proof, if it were the only one, that the greatest power of the sex reposes in this quality. But, as the principles that prevail in the education of women are perpetually struggling with this character, it is as difficult for them in the moral order to reconcile this magnificent gift of nature with the advantages of a good education as it is difficult for men to preserve them unchanged in the intellectual order: and the woman who knows how to join a knowledge of the world to this sort of simplicity in manners is as deserving of respect as a scholar who joins to the strictness of scholastic rules the freedom and originality of thought.