Kitabı oku: «Brigadier Frederick, The Dean's Watch»
ERCKMANN-CHATRIAN
Fashions change in literature, but certain things abide. There may be disputes from generation to generation, even from decade to decade, as to what is æsthetic, or what is beautiful; there is less as to what is human. The work of the French writers, whose duality is quite lost in the long-time association of their names for the purposes of story making, seems at the least to make this claim to outlast its authors: it is delightfully saturated with humanity.
And this humanity is of the sort that, since it can be understood of all men, is therefore very widely acceptable. It is well to emphasize the point in an attempt to explain the popularity of Erckmann-Chatrian, immediate or remote. There are other reasons, to be sure: but this one is at the door, knocking to be heard. But to speak of the essential humanity of these books is not to deny or ignore their art; that they have in abundance-quite as truly indeed as the work of your most insistent advocate of "art for art"; but it is art for life's sake. In the best sense, the verisimilitude of the Erckmann-Chatrian stories is admirable, impressive. They are, as a rule, exquisitely in key. They produce a cumulative effect by steadily, unobtrusively clinging to a single view-point, that of the speaker who is an eye-witness, and the result is a double charm-that of reality and that of illusion. One sees life, not through the eyes of the authors, but through the eyes of the characters; hence the frequent setting-forth of principles is relieved from didacticism by the careful way in which the writers refrain from expressing their own opinion. So artistic are they that they even indulge in the delicate ruse of opposing the views which are really their own, thereby producing a still stronger effect of fair-mindedness and detachment.
Yet, as the world knows, in the most justly famed of their books, the so-called National Novels, it is their purpose to preach against war; they are early advocates of the principles of the Peace Congress at The Hague, forerunners, in their own fashion, of the ideas expressed in art and literature by later men like Tolstoy and Verestchagin.
The local colour-one still uses the phrase as convenient-is remarkable for its sympathetic fidelity; the style well-nigh a model of prose whose purpose it is to depict in homely yet picturesque terms the passage of great events, seen by humble, it may be Philistine, folk, and hence not seen couleur de rose. When a heartfelt sympathy for average human-kind rises to the surface of the author's feeling, some candid, cordial phrase is ever found to express it.
The work of Erckmann-Chatrian, voluminous as it is, can be easily classified: it mainly consists of the idyl and the picture of war; L'lllustre Docteur Mathéus, their first success, happily illustrates the former genre; any one of the half dozen tales making up the National Novel series may be taken to represent the latter. Both veins turned out to be gold mines, so rich were they in the free-milling ore of popular favour. Such stories as L'Ami Fritz and The Brigadier Frederick are types of the two kinds of fiction which panned out most richly also for the world. In the idyl dealing with homely provincial life-the life of their home province-these authors are, of a truth, masters. The story is naught, the way of telling it, all that breeds atmosphere and innuendo, is everything. In L'Ami Fritz the plot may be told in a sentence: 'tis the wooing and winning of a country lass, daughter of a farmer, by a well-to-do jovial bachelor of middle age in a small town; voilà tout; yet the tale makes not only delicious reading, it leaves a permanent impression of pleasure-one is fain to re-read it. It is rich in human nature, in a comfortable sense of the good things of the earth; food and drink, soft beds, one's seat at the tavern, spring sunlight, and the sound of a fiddle playing dance tunes at the fair: and, on a higher plane, of the genial joys of comradeship and the stanch belief in one's native land. When the subtler passion of love comes in upon this simple pastoral scene, the gradual discovery of Friend Fritz that the sentiment he has always ridiculed has him at last in its clutch, is portrayed with a sly unction, a kindly humour overlying an unmistakable tenderness of heart, which give the tale great charm. Sweetness and soundness are fundamentals of such literature.
This tale is a type of them all, though deservedly the best liked. Love of nature and of human nature, a knowledge of the little, significant things that make up life, an exquisite realism along with a sort of temperamental optimism which assumes good of men and women – these blend in the provincial stories in such a way that one's sense of art is charmed while in no less degree one's sense of life is quickened and comforted. Erckmann-Chatrian introduced to French readers the genuine Alsatian, not the puppet of the vaudeville stage. Their books are, among other things, historical documents. From their sketches and tales better than in any other way one can gain an understanding of the present German provinces of Alsace and Lorraine during a period stretching from the Revolution to and after the Franco-Prussian war. The Alsatian in their hands is seen distinctly as one of the most interesting of Gallic provincial types.
The attitude of Dr. Mathéus, that charming physician savant, who is in love with science, with the great world of scholarship and literary fame, and so is fain to leave his simple countryside in quest of renown – in his final return to his home as, after all, the best spot on earth, typifies the teaching of these authors in all their works. The tale is a sort of allegory, veiling a sermon on the value of the "fireside clime" of home hearths and hearts. Nor must it be forgotten that these writers cultivated the short story or tale with vigour and success; The Dean's Watch, printed in the present volume, is an excellent example of the genre. Erckmann-Chatrian, especially in the earlier years of their conjoined labour, wrote numerous pieces of short fiction which abounded in gruesome adventure and situations more or less startling – witness the Heidelberg murder story. They possessed a considerable talent for the detective fiction brought to a fine art by Poe and worthily carried on in our day by Conan Doyle. Yet even here the work has a higher value – perhaps the highest – for the thoughtful reader in that it affords a faithful transcript of German life in time gone by; the authors, although so circumscribed in space, are in some sort historians of piquant social conditions. It is commonly said that your true short-story writer is not a novelist, nor the other way about. But The Dean's Watch, and a dozen other tales that could be named, are little master-pieces not to be omitted in any just, comprehensive survey of these fecund authors.
The National Novels differ from these simpler tales in more than theme and the fuller body and greater variety they possess; the authors' aim in the series sets the books apart from the other stories. This group is made up of tales that fairly may be called "purpose fiction," in the present cant. Erckmann-Chatrian agree to hate war and to justify their hate by writing a succession of books portraying its horrors, always from the disadvantage-point of actual humble participants and onlookers, so that the plea shall appear to be at once fairly made and yet be overwhelming in effect. Of the result, surely it may be said of the National Novels that if they are not magnificent, they are war – war stript of its glory, reduced to the one grim denominator of human misery.
The successive national struggles of France towards that peaceful Republicanism which has now endured long enough to induce the outside world into a belief that this volatile, fiery people will never revert to any form of monarchy, are sketched so graphically as to give a clear comprehension of their history. Nowhere is the artistry of the authors better exhibited than in the skill with which, by placing their own position in the mouths of others and by means of their remarkable power in characterization, they rob special pleading of that didacticism which is so deadly an enemy of good fiction. To secure an effect of verisimilitude no method of story-telling is perhaps so useful as that in which one of the characters speaks in proper person. What the author loses in omniscience, he more than gains in the impression of reality. This method is admirable in the hands of Erckmann-Chatrian, who consistently use it in their fiction. Do the writers of any other nation, one is tempted to query, offer such frequent examples of good taste in this avoidance of the too didactic as do the French? In some English hands so strenuous an attempt would have seemed heavily intolerable. Here one forgets all but the naturalness of word and action in the characters; and the lesson sinks the deeper into the mind.
In justice both to our authors and the present-day temper, it may be declared that the Twentieth Century is likely to be more sympathetic to their particular thesis than was their own time. There is a popular treatment of war which bedecks it in a sort of stage tinsel, to the hiding of its gaunt figure and cadaverous face. Some of Scott's romances are of this order. Zola, with his epic sweep in Le Débâcle, does not disguise the horrors of the Franco-Prussian struggle. Yet epic it is, and in a sense, romantic; handled by a poet whose imagination is aroused by the magnitude and movement of his theme. Erckmann-Chatrian set themselves squarely against this conception; they reduce the splendid trappings and elan of battle to its true hideousness.
In order to depict the inevitable, wretched results of the killing of men for purposes of political ambition, or national aggrandizement, Erckmann-Chatrian, as in their provincial idyls, cling steadily to the position of the average man, who cannot for the life of him see the use of leaving all that is pleasant and dear, of fighting, marching, sickening, and dying for the sake of a cause he does not understand or believe in, as the slave of men whom he perhaps despises. Joseph Berta, the lame conscript, the shrewd, kindly Jew Mathieu, the common-sense miller Christian Weber, protagonists in three well-known stories, each distinct from the other, are all alike in their preference for peace over war, for the joy of home and the quiet prosecution of their respective affairs, instead of the dubious pleasures of siege and campaign.
There is a superbly bourgeois flavour to it all. Yet one feels its force, its sound humanity. The republicanism of these writers is of the broadest kind. They hate Bonaparte or Bourbon, because in their belief either house stands for tyranny and corruption; while Napoleon is their special detestation, the later Empire is vigorously assailed because it, too, is opposed to the interests of the people. Napoleon III., whom in high satiric scorn they pillory as "The Honest Man," comes in for savage condemnation, since he again brings woe upon the working folk, in pursuit of his own selfish ends. And underneath all, like a ground-swell can be felt a deep and genuine, if homely, patriotism.
Human nature, as it is witnessed in the pages of Erckmann-Chatrian, is not hard to decipher. It lacks the subtlety of the modern psychologue, miscalled a novelist. Humanity for them is made up of two great contrasted elements – the people and the enemies of the people; the latter made up of kings, politicians, government leaders, and the general world of bureaucracy, who fleece the former, "that vast flock which they were always accustomed to shear, and which they call the people." But the people themselves, how veritable and charming they are! Not a whit are they idealized; the fictional folk of these writers are always recognisable; they give us that pleasure of recognition which Mr. James points out as one of the principal virtues of modern novel-making. The title of one of the well-known books, The History of a Man of the People, might almost stand as a description of their complete works. There is no sentimentalizing of average humanity; none of the Auerbach or George Sand prettification of country life. Erckmann-Chatrian are as truthful as a later realist like Thomas Hardy. The family life in The Brigadier Frederick is almost lyrically set forth, until it seems, mayhap, too good for human nature's daily food; but similar scenes in other stories have a Dutch-like fidelity in their transcripts of the coarser, less lovely human traits; recall the wife and daughter of Weber, for example, or the well-nigh craven fear of Joseph Berta in The Plebiscite, who seems half a poltroon until he is seasoned in a Napoleonic campaign; the psychologic treatment here suggesting Stephen Crane's The Red Badge of Courage. The blend of grim realism and heroic patriotism in the figure of the old sergeant in The Plebiscite is a fine illustration of that truth to both the shell and kernel of life which Erckmann-Chatrian maintain throughout their work.
On the whole, then, it is a comfortable, enheartening conception of Man they present. Poor theologians they would make; men are by nature good and kind; only warped by cruel misuse and bad masters, as in war. "Ah, it is a great joy to love and to be loved, the only one joy of life," exclaims the Jew Mathieu in The Blockade. This simple yet sufficient creed pervades their thought. Again and again is it declared that whatever the apparent evil, so that the faithful-hearted and devout of the world, like Father Frederick, lose courage for the moment, the fault is with men upon earth, not in heaven. High over all, God reigns. A spirit of kindliness, quiet, unheroic, but deep and tender, enswathes the more serious part of these novels like an atmosphere; and if the mood shifts to indignation, it is the righteous indignation of the good in the face of that which is wrong and evil. And these better human attributes are most commonly found in the provinces; the city, as a rule, spells sin. The touch of mother earth brings purity and strength. "La mauvaise race qui trompe," declares the Brigadier Frederick, "n'existe pas au pays; elle est toujours venue d'ailleurs." One smiles at this, but it offends not nor seems absurd. Its very prejudice is lovable.
Perhaps none of the stories make so moving an appeal against war as The Brigadier Frederick. Its sadness is the most heartfelt, its realism the most truthful, and hence effective. Nor in any other book of the War Series does the French character shine more clearly in its typical virtues. Family love and faith, camaraderie, humble devoutness in religion, and earnest patriotism are constantly made manifest in this fine tale. Instead of conducting their hero through the spectacular scenes of military campaigns, the authors depict only the stay-at-home aspects of war, which because of their lack of strut and epic colour are, as a rule, overlooked, and which yet illustrate far better than the most Zolaesque details the wretched milieu and after effects of a great national struggle. Frederick, the old guard of the Alsatian forest domains, loses in turn his post, his son-in-law, wife, and daughter, and at last his native land; and through all his misery remains proudly a Frenchman, who refuses to declare allegiance to the German invaders; and, in being true to his convictions, furnishes a noble example of a man who, by the moral test, rises superior to any fate, his head being
"bloody but unbowed."
Again, sad as the story is, it differs from too much of the tragedy of current literature; it is sad for the sake of a purpose, not for sadness' sake. Alleviation is offered the reader from the beginning, in that he knows that Frederick himself has survived all his woes, since he is telling his tale to a friend in after years. These qualities make the work wholesome and beautiful, sound both for art and life.
Erckmann-Chatrian draw strength from mother-soil. Their stories are laid in Alsace-Lorraine, or at least it is that debatable land whence the characters go only to return for the peaceful denouement, which these authors, in the good old-fashioned style, like to offer their readers. The popularity of such writers brings us back, happily, to that untechnical valuation of literature which insists, first of all, in regarding it as an exposition of human experience. Their books bear translation especially well because there is something in them besides incommunicable flavours of style, though style is not wanting; namely, vital folk, vivid scenes, significant happenings. Theirs is the misleading simplicity of method and manner which hides technique of a rare and admirable kind. Allowing for all exaggeration for altered ideals in fiction, and for the waning of interest in the historical circumstances which they portray, there remain such elements of permanent appeal as to give their books far more than a transient worth.
For more than forty years, Erckmann-Chatrian wrote as one man; their collaboration was, in effect, a chemical union. No example in literature better illustrates the possibility of the merging of individualities for the purposes of artistic unity. The double work of the English Besant and Rice is by no means so important nor do they stand and fall together in the same sense; much of Besant's typical fiction being produced after his partner's death. In the case of the most famed collaboration of older days, that of the dramatists Beaumont and Fletcher, the union was more intimate. But the early death of Beaumont, the consideration that he wrote less than half the plays conventionally attributed to their joint authorship, and the additional consideration that some of the best and most enjoyable dramas associated with these great names —The Loyal Subject, to mention but one – are unquestionably of Fletcher's sole composition, make the Beaumont-Fletcher alliance not so perfect an example of literary collaboration as is offered by Erckmann-Chatrian. When Chatrian died in 1890, it was as if, for literary purposes, both died. Their work had a unity testifying to a remarkable if not unique congeniality in temperament, view and aim, as well as to a fraternal unity which – alas! the irony of all human friendships – was dispelled when their quarrel, just before the death of Chatrian, put an end to an association so fruitful and famous.
From the very nature of fiction in contrast with drama, it would seem as if collaboration in stage literature were more likely to yield happy results than in the case of the novel. Here, however, is an example setting aside a priorireasoning; seemingly "helpless each without the other," the final breach in their personal relations would seem to have written Finis to their literary endeavour. Yet Erckmann survived for nearly a decade and wrote military stories, which in tone and temper carried on the traditions of the two men. But we may easily detect in this last effort the penalty of their literary severance: the loss of the craftsmanship of Chatrian was a loss indeed. Nor is this subjective guess-work of the critic; Erckmann himself described nearly twenty years ago the respective parts played by the two in their literary work. He declared that after a story had been blocked out and thoroughly talked over between them, he did all the actual composition. Then was it Chatrian's business to point out faults, to suggest, here a change in perspective, there less emphasis upon a subsidiary character, or here again, a better handling of proportion – in short, to do all the retouching that looks to artistry. And Erckmann goes on to testify in good set terms how necessary his collaborator was to the final perfected form of the story; how much it must have suffered without his sense of technique. It would appear from this that the senior member of the firm did what is commonly called the creative work of composition, the junior filling the role of critic. From France one hears that Erckmann was very German in taste and sympathy (mirabile dictu! in view of so much of what he wrote); Chatrian, French to the core, a man who insisted on residing on the French side of the national line, who reared his sons to be French soldiers; whereas Erckmann in later years hobnobbed with the Germans, members of his family, in fact, inter-marrying with his ancient enemies.
Indeed, this last act of their personal history has its disillusionment. But after all, men shall be judged in their works. Whatever their private quarrellings, their respective parts in literary labour, their attributes or national leanings, the world, justly caring most in the long run for the fiction they wrote, will continue to think of them as provincial patriots, lovers of their country, and Frenchmen of the French, not only in the tongue they used, but in those deep-lying characteristics and qualities which make their production worthily Gallic in the nobler implication of the word.
RICHARD BURTON.
