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Excerpt from Jasmin: Barber, Poet, Philanthropist, by Samuel Smiles

In the Appendix to this memoir I have endeavoured to give translations
from some of Jasmin's poems. Longfellow's translation of 'The Blind Girl
of Castel-Cuille' has not been given, as it has already been published
in his poems, which are in nearly every library. In those which have
been given, I have in certain cases taken advantage of the translations
by Miss Costello Miss Preston (of Boston, U.S.), and the Reverend Mr.
Craig, D.D., for some time Rector of Kinsale, Ireland.

It is, however, very difficult to translate French poetry into English.
The languages, especially the Gascon, are very unlike French as well as
English. Hence Villemain remarks, that "every translation must virtually
be a new creation." But, such as they are, I have endeavoured to
translate the poems as literally as possible. Jasmin's poetry is rather
wordy, and requires condensation, though it is admirably suited
for recitation. When other persons recited his poems, they were not
successful; but when Jasmin recited, or rather acted them, they were
always received with enthusiasm.

There was a special feature in Jasmin's life which was altogether
unique. This was the part which he played in the South of France as a
philanthropist. Where famine or hunger made its appearance amongst the
poor people--where a creche, or orphanage, or school, or even a church,
had to be helped and supported Jasmin was usually called upon to assist
with his recitations. He travelled thousands of miles for such purposes,
during which he collected about 1,500,000 francs, and gave the whole of
this hard-earned money over to the public charities, reserving nothing
for himself except the gratitude of the poor and needy. And after his
long journeyings were over, he quietly returned to pursue his humble
occupation at Agen. Perhaps there is nothing like this in the history
of poetry or literature. For this reason, the character of the man as a
philanthropist is even more to be esteemed than his character as a poet
and a song-writer.

Explanation ​

Detailed Explanation of the Excerpt from Jasmin: Barber, Poet, Philanthropist by Samuel Smiles ​

This passage is from Samuel Smiles’ 1891 biography of Jacques Jasmin (1798–1864), a French poet, barber, and philanthropist from Gascony. Smiles, a Scottish author best known for Self-Help (1859), was fascinated by Jasmin’s unique life—his rise from a humble barber to a celebrated poet and benefactor. The excerpt discusses Jasmin’s poetry, the challenges of translating it, and his extraordinary philanthropic work.

1. Context & Background ​

  • Jasmin’s Life & Reputation: Jasmin was a Gascon poet who wrote in Occitan (a Romance language spoken in southern France), blending folk traditions with moral and philanthropic themes. Though not formally educated, his recitations captivated audiences, earning him fame beyond his barber’s chair.

    • His most famous poem, "The Blind Girl of Castel-Cuille" ("La Cèga d’Embrun" in Occitan), was translated by Henry Wadsworth Longfellow, indicating his international appeal.
    • Unlike many poets, Jasmin used his art for charity, traveling across France to raise funds for orphans, schools, and famine relief.

  • Samuel Smiles’ Purpose: Smiles, a champion of Victorian moral biography, presents Jasmin as a model of selflessness, industry, and civic virtue. The excerpt highlights two key aspects:

    1. Jasmin’s poetry (its style, translation challenges, and performance).
    2. His philanthropy (his unprecedented use of poetry for public good).

2. Breakdown of the Excerpt ​

A. Translating Jasmin’s Poetry (First Paragraph) ​

"In the Appendix to this memoir I have endeavoured to give translations from some of Jasmin's poems... It is, however, very difficult to translate French poetry into English. The languages, especially the Gascon, are very unlike French as well as English."

  • Literary Context:

    • Smiles acknowledges that Jasmin’s Occitan (Gascon) poetry resists direct translation into English. Occitan, a distinct Romance language, has a musical, rhythmic quality that doesn’t easily map onto English meter.
    • He cites Villemain’s idea that "every translation must virtually be a new creation"—a nod to the Romantic-era debate on translation (e.g., should it be literal or adaptive?).

  • Translation Challenges:

    • Gascon vs. French vs. English:
      • Gascon (a dialect of Occitan) has different phonetics, idioms, and cultural references than standard French. English lacks equivalents for its oral, performative style.
      • Example: Jasmin’s poems often used repetition, alliteration, and folk rhythms—qualities hard to preserve in English.
    • Smiles’ Approach:
      • He borrows from existing translations (by Miss Costello, Miss Preston, Rev. Craig) but aims for literal accuracy, even if it sacrifices fluency.
      • He notes Jasmin’s poetry is "wordy"—requiring condensation for English readers, who might find it verbose.

  • Performance vs. Page:

    "When other persons recited his poems, they were not successful; but when Jasmin recited, or rather acted them, they were always received with enthusiasm."

    • Jasmin’s poetry was oral and theatrical—meant to be performed, not just read.
    • His dramatic delivery (gestures, voice, emotional intensity) made his recitations powerful. This aligns with Romantic and folk traditions, where poetry was a public, communal experience.
    • Contrast with Print Culture: Victorian England valued written literature, but Jasmin’s work thrived in live performance, making translation even harder.

B. Jasmin’s Philanthropy (Second Paragraph) ​

"There was a special feature in Jasmin's life which was altogether unique... He travelled thousands of miles for such purposes, during which he collected about 1,500,000 francs, and gave the whole... to public charities."

  • Unprecedented Philanthropy:

    • Jasmin used poetry as a tool for social good—a radical idea in the 19th century.
    • He traveled extensively, performing to raise money for:
      • Famine relief (common in 19th-century France).
      • Crèches (daycare centers) for working mothers.
      • Orphanages, schools, and churches.
    • Scale of Generosity:
      • 1,500,000 francs (equivalent to millions today)—an enormous sum for a barber-poet.
      • He kept nothing, living modestly as a barber in Agen.

  • Humility & Return to Obscurity:

    "after his long journeyings were over, he quietly returned to pursue his humble occupation at Agen."

    • Unlike many celebrities, Jasmin rejected fame, returning to his working-class roots.
    • This aligns with Victorian moral ideals (hard work, modesty) and Christian charity.

  • Historical Significance:

    "Perhaps there is nothing like this in the history of poetry or literature."

    • Smiles argues that Jasmin’s fusion of art and activism was unmatched.
    • While poets like Victor Hugo or Lord Byron wrote about social issues, Jasmin directly funded solutions—making him a pioneer of literary philanthropy.

3. Key Themes ​

  1. The Power of Oral Tradition:

    • Jasmin’s poetry was meant to be heard, not just read, reflecting folk and Romantic traditions.
    • Smiles contrasts this with Victorian print culture, where poetry was often silent and solitary.

  2. Art as a Force for Good:

    • Jasmin weaponized poetry for charity, challenging the idea that art is purely aesthetic or elite.
    • This foreshadows 20th-century activist art (e.g., protest songs, benefit concerts).

  3. Class & Virtue:

    • A barber-poet outshines aristocratic artists in moral impact.
    • Smiles (author of Self-Help) uses Jasmin to promote working-class heroism.

  4. Translation & Cultural Loss:

    • The difficulty of translating Jasmin highlights how much is lost when moving between languages, especially oral, regional traditions.

4. Literary Devices & Style ​

  • Contrast:
    • Jasmin’s success vs. others’ failures in reciting his poems (emphasizing his unique talent).
    • His fame vs. his humility (returning to barbering).
  • Hyperbole:
    • "nothing like this in the history of poetry"—elevates Jasmin to mythic status.
  • Anecdote:
    • The specific details (1,500,000 francs, thousands of miles) make his philanthropy tangible.
  • Allusion:
    • References to Longfellow, Villemain situate Jasmin in global literary discourse.

5. Significance & Legacy ​

  • Jasmin as a Cultural Icon:

    • In 19th-century France, he was a folk hero, bridging high art and popular culture.
    • His life challenged class barriers in literature.

  • Smiles’ Victorian Moral Lesson:

    • The biography celebrates industry, charity, and self-sacrifice—core Victorian values.
    • Jasmin’s story was didactic, meant to inspire readers to use their talents for others.

  • Modern Relevance:

    • Artist-activists (e.g., Bob Dylan, Banksy) echo Jasmin’s blending of art and social change.
    • The translation debate remains relevant in global literature (e.g., how to preserve oral traditions in writing).

6. Conclusion: Why This Passage Matters ​

This excerpt is not just about Jasmin’s poetry—it’s about how art can transcend aesthetics to create real-world impact. Smiles presents him as:

  • A master of performance (whose work loses something in translation).
  • A radical philanthropist (using poetry to feed the hungry).
  • A humble everyman (returning to his barber’s chair).

In an era where poetry was often seen as elite, Jasmin proved it could be both popular and powerful. His story asks: What if art’s greatest purpose isn’t fame, but service?

Final Thought: Smiles’ biography turns Jasmin into a Victorian saint of literature—but the real fascination lies in how a barber from Gascony became a force for change, one recitation at a time.