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It was, of course, inevitable that, on this side of the Channel at least, strictures should be passed – and appealed against – on a writer of this kind. The impropriety of M. de Maupassant's subjects, the "cruelty," the "brutality," the "pessimism," and what not, of his handling, were sure to be denounced or defended, as the case may be. Although the merely "shoking" tone (as the spelling dear to Frenchmen has it) has waned persistently ever since his day, expressions in it have not been wanting; while, on the other hand, newer-fashioned and probably younger censors have scornfully waved aside the very consideration of this part of the subject. Further, no less a critic than my friend Mr. Traill entered, long ago, a protest against the admission of Maupassant's pessimism as a drawback. "He did not," says Mr. Traill (I quote from memory), "pose as a pessimist; he was perfectly sincere, and an artist's sincere life-philosophy, whatever it is, is not to be urged against the products of his art."

I think that these questions require a little discussion, even in a general History.

With reference to the impropriety matter, I have myself, after a lifetime of fighting against the hérésie de l'enseignement, not the very slightest intention of deserting to or transacting with it. I do most heartily agree and affirm that the subject of a work of art is not, as such, the better or the worse, the more or the less legitimate, because of its tastefulness or distastefulness on moral considerations. But there is a perpetual danger, when we are clearing our minds of one cant, of allowing them to be invaded by another; and I think I have seen cases where the determination not to be moral of malice prepense has been so great that it has toppled over into a determination to be immoral of malice prepense. Now, the question is, whether Maupassant and some of Maupassant's admirers are not somewhat in this case? It is surely impossible for any impartial critic to contend that the unlucky novelist's devotion to the class of subjects referred to, and his manner of handling them, did not amount to what has been pedantically, but accurately, termed an "obsession of the lupanar." Now, it seems to me that all obsession, no matter of what class or kind, is fatal, or, at least, injurious, to the artist. It is almost impossible that he should keep his judgment and his taste cool and clear under it; it is almost impossible that his poring shall not turn into preaching. And I think it not much less hard to defend Maupassant from the charge of having become a kind of preacher in this way, and so a heretic of instruction, just as much as if he had taken to theology, dogmatic or undogmatic. Perpetual representation amounts to inculcation.⁵¹⁴

So, again, in reference to the apologies for Maupassant's pessimism. I cannot see how it can be contended that the perpetual obtrusion of a life-philosophy of any special kind is other than a fault in art. I have no particular objection to pessimism as such; I suppose most people who have thought and felt a good deal are nearer to it than to its opposite; and, though both opposites bore me when they are obtruded, I think rose-pink and sky-blue bore me rather more than the various shades of grey and brown and black. I admit further that, but for the pessimist diathesis, we might not have had that peculiar tragedy in which he has been admitted to excel. But it seems to me that the creative artist, as such, and as distinguished from the critical, has no more business to display – to arborer– a life-philosophy, than he has to display a philosophy of any other kind. Signs of it may escape him at times; but they should be escapes, not deliberate exhibitions. He is to see life whole as far as he can; and it is impossible that he should see it whole if he is under the domination of any 'ism to the extent that Maupassant was under the domination of this. In the one supreme artist (I am talking, of course, throughout of the art of letters only) whom we know, there is, perhaps, no more distinctive peculiarity than his elusion of all attempts to class him as "Thissist" or "Thattist." And in those who come nearest to him, though they may have strong beliefs and strong proclivities, we always see the capacity of taking the other side. The fervent theologian of the Paradiso treats hardly any of his victims with more consideration than the inhabitants of the City of Dis: the prophet and poet of his own Uranian love for Beatrice swoons at the sight of Francesca's punishment, and feels "so that boiling glass were coolness," the very penalty of the Seventh Circle of Purgatory. But Maupassant's materialism and his pessimism combined shut out from him vast parts and regions of life and thought and feeling, as it were with the blank wall of his very earliest poem. The fantastic shadows of his peculiar imagination play on that wall fascinatingly enough; and the region of passion and of gloom within is not without a charm, if a somewhat unholy and unhealthy one. But beyond the wall there is a whole universe which Maupassant does not merely neglect, but of which he seems to be blankly ignorant and unconscious, except in flashes of ignorant disdain. That the infinite province of religious emotion and reflection is shut out is a matter of course; but most of the other regions, in which those who decline religion take refuge, are equally closed. I can remember in Maupassant only the slightest signs of interest in general literature (except so far as it bears upon his own special craft), in the illimitable ranges of history, in politics, in the higher philosophy.⁵¹⁵ It cannot be said of him, as of his master's dismal heroes, that tout lui a craqué dans la main. There is no sign of trial on his part; he starts where Bouvard and Pécuchet end, and takes for granted a failure which he has not given himself the trouble to experience.

But, it may be said, "What does it matter what he does not do, know, feel, care for, if he treats what he does do, know, feel, and care for, well?" The objection is ingenious, and, as Petruchio would say, "'a might have a little galled me" if its ingenuity had not been the ingenuity of fallacy. For the question is whether this insensibility to large parts of life has not injured Maupassant's treatment of the parts in which he did feel an interest. I think it has. There were too many things in emotion and in thought of which he was ignorant. Mrs. Piozzi, in her Anecdotes of Johnson, observes that the Doctor, despite his freedom from gush and his dislike to religious verse, could never repeat the stanza of Dies Irae which ends "Tantus labor non sit cassus" without bursting into tears. I know a person very different from Johnson who, though he had not read the Anecdotes till an advanced period of his life, had never failed to experience something like the same result at the same line. And, for a third point, it is well known that actual agnostics have often confessed to like affections in similar cases. The numerous and complicated causes of this weakness, or, if any one prefers to call them so, the numerous and complicated causes of this enjoyment, had no hold whatever on Maupassant.

But this hemiplegia of the intellect and the imagination – this sterilising of one-half, or more than one-half, of the sources of intellectual and imaginative experience and delight – did not prevent him from leaving durable and perdurable results of the vigour of his mind and his sense, in the regions which were open to him. He wrote – as almost every popular writer in these days who does not shut himself up in a tour d'ivoire and neglect popularity must write – too much; and, in the special circumstances and limitations of his interests and his genius, this was specially unfortunate. He repeated himself too often; and he too frequently failed to come up to himself in the repetition. The better part of him, as with Flaubert before, transcended – even openly contemned – the 'isms of his day: but he too often let himself be subservient to them, if he was never exactly their Helot.

Yet in recompense – a recompense largely if not wholly due to the strong Romantic⁵¹⁶ element which countervails the Naturalist – he was certainly the greatest novelist who was specially of the last quarter of the nineteenth century in France. In verse he showed the dawn, and in prose the noon-day, of a combination of veracity and vigour, of succinctness and strength, which no Frenchman who made his début since 1870 could surpass. The limitations of his art have been sufficiently dealt with; the excellences of it within those limitations are unmistakable. He had no tricks – the worst curse of art at all times, and the commonest in these days of what pretends to be art. He had no splash of so-called "style"; no acrobatic contortions of thought or what does duty for thought; no pottering and peddling of the psychological kind, which would fain make up for a faulty product by ostentatiously parading the processes of production. Had he once got free – as more than once it seemed that he might – from the fatal conventionalities of his unconventionalism, from the trammels of his obtrusive negations, there is hardly a height in prose fiction which he might not have attained. As it is, he gave us in verse Au bord de l'eau, which is nearly the "farthest possible" in a certain expression, of a certain mood of youth, and not of youth only; in prose Boule de Suif, Monsieur Parent, Pierre et Jean, which are all in their way masterpieces, and a hundred things hardly inferior. And so he put himself in the company of "Les Phares" – a light-giver at once and a warner of danger, as well as a part of

 
cet ardent sanglot qui roule d'âge en âge,
Et vient mourir au bord de notre éternité.⁵¹⁷
 

Huysmans.

The Naturalist rank and file are so far below Zola and Maupassant that they cannot now, whatever they might have done twenty years ago, claim much notice in such a history as this. The most remarkable of them was probably J. K. Huysmans. It has been charitably suggested or admitted above that his contribution to the Soirées de Médan– a deeply felt story, showing the extreme disadvantage, when, as Mr. De la Pluche delicately put it, "your midlands are out of order," of wandering quarters and vicissitudes in the country, and the intense relief experienced on return to your own comfortable chambers in town, – that this may have been written in the spirit of a farceur, reducing the Goncourtian and Zolaesque principle to the lowest terms of the absurd. But I am by no means sure that it was so, though this suspicion of parody pursues the earlier work of Huysmans to such an extent that a certain class of critic might take his later developments as evidence of design in it. Les Sœurs Vatard is a sort of apodiabolosis of the Goncourts and Zola – a history of entirely uninteresting persons (the "sisters" are work-girls in a printing-house, and their companions suit them) doing entirely uninteresting things, in an atmosphere of foul smells, on a scene littered with garbage, cheered by wine which is red ink, and brandy which is vitriol. À Rebours, not really a novel at all, is the history of a certain M. Des Esseintes, who is a sort of transposed "Bouvard et Pécuchet" in one – trying all arts and sensations; his experiences being made by his historian a vehicle of mostly virulent and almost always worthless criticism on contemporaries. Perhaps the most intolerable thing is the affiche of idolatry for Baudelaire. One remembers the glorious lines:

 
Et Charles Baudelaire
Dédaigneux du salaire.
 

He certainly might have been disdainful of the salary of the admiration of one of the farceurs of his own "Coucher du Soleil Romantique." But on the whole there is a better way of taking leave of this first Naturalist, and then mystic, and always blagueur. "Almost thou persuadest me to be a Philistine." Which perhaps was his cryptic and circuitous intention. Later M. Huysmans took to Black Arts; and at the last he turned devout – a sort of sequence not by any means uncommon, and one of the innumerable illustrations of the irony of things. Gautier and others had anticipated and satirised all these stages in the Romantic dawn; they reappeared, serious and dreary, in the twilight of the dusk.

Belot and others.

Adolphe Belot was not, strictly speaking, a Naturalist, for he was a dozen years older than Zola, and ran up a huge list of novels ranging in character between Naturalism and melodrama. His most famous book, Mlle. Giraud ma Femme, was the most popular of a large number of attempts, about the last third of the century, in the school of La Religieuse, but with more or less deliberately pornographic effect. There is, however, some power in this book, and the "curtain" – the foiled husband, after Mlle. Giraud's death, seeing his she-rival swimming, swims out after and drowns her – is quite refreshing. But I have always liked M. Belot best for a thoughtful and delightful remark in La Femme de Feu. "Heureuse elle-même, elle trouva naturel de faire les autres heureux," which, translated into plain English, means that she was so happy with her husband that she couldn't help making her lover happy. M. Belot did not work out this modification of the Golden Rule – he was not a philosophic novelist. But it is very humorous in itself, and the extensions and applications of it are illimitable and vertiginous.⁵¹⁸

Below him it is unnecessary to go.

CHAPTER XIV
OTHER NOVELISTS OF 1870-1900

The last stage.

The remaining novelists of the Third Republic, apart from the survivors of the Second Empire and the Naturalist School, need not occupy us very long, but must have some space. There would be no difficulty on my part in writing a volume on them, for during half the time I had to produce an article on new French books, including novels, every month,⁵¹⁹ and during no small part of the rest, I did similar work on a smaller and less regular scale, reading also a great deal for my own purposes. But acknowledging, as I have elsewhere done, the difficulty of equating judgment of contemporary and non-contemporary work exactly, I think I shall hardly be doing the new writers of this time injustice if I say that no one, except some excluded by our specifications as living, could put in any pretensions to be rated on level with the greater novelists from Lesage to Maupassant. There are those, of course, who would protest in favour of M. Ferdinand Fabre, and yet others would "throw for" M. André Theuriet, both of whom shall have due honour. I cannot wholly agree with them. But both of them, as well as, for very opposite reasons, MM. Ohnet and Rod, may at least require notice of some length.

Ferdinand Fabre: L'Abbé Tigrane.

L'Abbé Tigrane, by Ferdinand Fabre, may be described as one of not the least remarkable, and as certainly one of the most remarked, novels of the later nineteenth century. It never, I think, had a very large sale; for though at the time of its author's death, over thirty years and more after its appearance, it had reached its sixteenth thousand, that is not much for a popular French novel. Books of such different appeal as Zola's and Feuillet's (not to mention for the present a capital example to be noted below) boasted ten times the number. But it dared an extremely non-popular subject, and treated that subject with an audacious disregard of anything like claptrap. There is no love in it and hardly a woman; there is no – at least no military – fighting; no adventure of any ordinary sort. It is neither a berquinade, nor a crime-story, nor (except in a very peculiar way) a novel of analysis. It relies on no preciousness of style, and has not very much description, though its author was a great hand at this when and where he chose. It is simply the history of an ambitious, strong-willed, strong-minded, and violent-tempered priest in an out-of-the-way diocese, who strives for and attains the episcopate, and after it the archiepiscopate, and is left aspiring to the Papacy – which, considering the characters of the actual successors of Pius IX., the Abbé Capdepont⁵²⁰ cannot have reached, in the fifty years (or nearly so) since the book was published.

Now, in the first place, it is generations since a clerical novel was likely to please the French novel-reading public. In this very book there is an amusing scene where the abbé, then a private tutor, induces his employer, a deputy, to invite clerics of distinction to a party, whereat the other guests melt away in disgust. And this was a long time before a certain French minister boasted that his countrymen "had taken God out of Heaven." Moreover, while there are two obvious ways of reconciling extremists to the subject, M. Fabre rejected both. His book is neither a panegyric on clericalism nor a libel on it. His hero is as far as possible from being a saint, but he is perfectly free from all the vulgar vices. The rest of the characters – all, with insignificant exceptions, clerics – are quite human, and in no case – not even in that of Capdepont's not too scrupulous aide-de-camp the Abbé Mical – offensive. But at the beginning the bishop, between whom and the hero there is truceless war, is, though privately an amiable and charitable gentleman (Capdepont is a Pyrenean peasant by origin), rather undignified, and even a little tyrannical; while a cardinal towards the end makes a distinction – between the impossibility of the Church lying and the positive duty of Churchmen, in certain circumstances, to lie – which would have been a godsend to Kingsley in that unequal conflict of his with a colleague of his Eminence's.⁵²¹

Yet critics of almost all shades agreed, I think, in recognising the merits of M. Fabre's book; and it established him in a special position among French novelists, which he sustained not unworthily with nearly a score of novels in a score and a half of years. It is undoubtedly a book of no small power, which is by no means confined to the petty matters of chapter-and-seminary wrangling and intrigue. On the contrary, the scene where, owing to Capdepont's spite, the bishop's coffin is kept, in a frightful storm, waiting for admission to its inmate's own cathedral, is a very fine thing indeed – almost, if not quite, in the grand style – according to some, if not according to Mr. Arnold. The figure of the arch-priest Clamousse, both in connection with this scene⁵²² and others – old, timid, self-indulgent, but not an absolutely bad fellow – is of first-rate subordinate quality. Whether Capdepont himself has not a little too much of that synthetic character which I have discussed elsewhere – whether he is quite a real man, and not something of a composition of the bad qualities of the peasant type, the intriguing ecclesiastic type, the ambitious man, the angry man, and so on – must, I suppose, be left to individual tastes and judgments. If I am not so enthusiastic about the book as some have been, it is perhaps because it seems to me rather a study than a story.⁵²³

Norine, etc.

This criticism – it is not intended for a reproach – does not extend to other, perhaps not so powerful, but more pastimeous books, though M. Fabre seldom entirely excluded the clerical atmosphere of his youth.⁵²⁴ A very pleasant volume-full is Norine, the title-piece of which is full at once of Cevenol scenery and Parisian contrast, of love, and, at least, preparations for feasting; of sketches of that "Institute" life which comes nearest to our collegiate one; and of pleasant bird-worship. But M. Fabre should have told us whether the bishop actually received and appreciated⁵²⁵ the dinner of Truscas trout and Faugères wine (alas! this is a blank in my fairly extensive wine-list), and the miscellaneous maigre cookery of the excellent Prudence, and the splendid casket of liqueurs borrowed from a brother curé. Cathinelle (an unusual and pretty diminutive of Catherine) is an admirably told pendant to it; and I venture to think the "idyllic" quality of both at least equal, if not superior, to the best of George Sand. Le R. P. Colomban is, according to M. Fabre's habit, a sort of double-edged affair – a severe but just rebuke of the "popular preacher," and a good-humoured touch at the rebuker, Monseigneur Onésime de la Boissière, Evêque de Saint-Pons, who incidentally proposes to submit L'Abbé Tigrane to the Holy Congregation of the Index. Finally, the book closes with a delightful panegyric of Alexandre Dumas père, and an anecdote avowedly autobiographic (as, indeed, the whole book gives itself out to be, though receivable with divers pinches of salt) of that best-natured of men franking a bevy of impecunious students at a première of one of his plays.

Le Marquis de Pierrerue.

To read Le Marquis de Pierrerue after these two books – one the piece with which Fabre established his reputation, and the other a product of his proved mastery – is interesting to the critic. Whether it would be so to the general reader may be more doubtful. It is the longest of its author's novels; in fact its two volumes have separate sub-titles;⁵²⁶ but there is no real break, either of time, place, or action, between them. It is a queer book, quite evidently of the novitiate, and suggesting now Paul de Kock (the properer but not quite proper Paul), now Daudet (to whom it is actually dedicated), now Feuillet, now Murger, now Sandeau, now one of the melodramatic story-tellers. Very possibly all these had a share in its inspiration. It is redolent of the medical studies which the author actually pursued, between his abandonment of preparation for the Church and his settling down as a man of letters. Its art is palpably imperfect – blocks of récit, wedges of not very novel or acute reflection, a continual reluctance or inability to "get forrard." Of the two heroes, Claude Abrial, Marquis de Pierrerue – a fervent Royalist and Catholic, who lavishes his own money, and everybody else's that he can get hold of, on a sort of private Literary Fund,⁵²⁷ allows himself to be swindled by a scoundrelly man of business, immures his daughter, against her wish, as a Carmelite nun, and dies a pauper – is a quite possible but not quite "brought off" figure. Théven Falgouët, the Breton buveur d'eau,⁵²⁸ who is introduced to us at actual point of starvation, and who dies, self-transfixed on the sharp spikes of the Carmelite grille, is perhaps not impossible, and occasionally pathetic. But the author seems, in his immaturity as a craftsman, never to have made up his mind whether he is producing an "alienist" study, or giving us a fairly ordinary étudiant and aspirant in letters. Of the two heroines, the noble damsel Claire de Pierrerue – object of Falgouët's love at first sight, a love ill-fated and more insane than even love beseems – is quite nice in her way; and Rose Keller – last of grisettes, but a grisette of the Upper House, an artist grisette, and, as some one calls her, the "sœur de charité de la galanterie"⁵²⁹– is quite nice in hers. But Rose's action – in burning, to the extent of several hundred thousand francs' worth, notes and bonds, the wicked gains of one of her lovers (Grippon, the Marquis's fraudulent intendant), and promptly expiring – may pair off with Falgouët's repeating on himself the Spanish torture-death of the guanches,⁵³⁰ as pure melodrama. In fact the whole thing is undigested, and shows, in a high degree, that initial difficulty in getting on with the story which has not quite disappeared in L'Abbé Tigrane, but which has been completely conquered⁵³¹ in Norine and Cathinelle.

Mon Oncle Célestin.

This mixed quality makes itself felt in others of Fabre's books. Perhaps there is none of them, except L'Abbé Tigrane itself, which has been a greater favourite with his partisans than Mon Oncle Célestin. Here we have something of the same easy autobiographic quality, with the same general scene and the same relations of the narrator and the principal characters, as in other books; but "Mr. the nephew" (the agreeable and continuous title by which the faithful parishioners address their beloved pastor's boy relative) has a different uncle and a different gouvernante, at least in name, from those in Norine and Cathinelle. The Abbé Célestin, threatened with consumption, exchanges the living in which he has worked for many years, and little good comes of it. He is persecuted, actually to the death, by his rural dean, a sort of duplicate of the hero of L'Abbé Tigrane; but the circumstances are not purely ecclesiastical. He has, in his new parish, taken for goat-girl a certain Marie Galtier, daughter of his beadle, but, unluckily, also step-daughter of a most abominable step-mother. Marie, as innocently as possible, "gets into trouble," and dies of it, accusations being brought against her guiltless and guileless master in consequence. There are many good passages; the opening is (as nearly always with M. Fabre) excellent; but both the parts and the whole are, once more, too long – the mere "flitting" from one parish to another seems never to be coming to an end. Still, the book should be read; and it has one very curious class of personages, the "hermits" of the Cevennes – probably the latest (the date is 1846) of their kind in literature. The general characteristics of that kind do not seem to have been exactly saintly;⁵³² and the best of them, Adon Laborie, after being "good" throughout, and always intending to be so, brings about the catastrophe by calmly suppressing, in the notion that he will save the Abbé trouble, three successive citations from the Diocesan Council, thereby getting him "interdicted." The shock, when the judgment in contumacy is announced by the brutal dean, proves fatal.

Lucifer.

In Lucifer M. Fabre is still nearer, though with no repetition, to the Tigrane motive. The book justifies its title by being the most ambitious of all the novels, and justifies the ambition itself by showing a great deal of power – most perhaps again, of all; though whether that power is used to the satisfaction of the reader must depend, even more than is usual, on individual tastes. Bernard Jourfier, at the beginning of the book and of the Second Empire, is a young vicaire, known to be of great talents and, in especial, of unusual preaching faculty, but of a violent temper, ill at ease about his own vocation, and suspected – at least by Ultramontanes – of very doubtful orthodoxy and not at all doubtful Gallicanism. He is, moreover, the grandson of a conventionnel who voted for the King's death, and the son of a deputy of extreme Liberal views. So the Jesuits, after trying to catch him for themselves, make a dead set at him, and secure his appointment to out-of-the-way country parishes only, and even in these his constant removal, so that he may acquire as little influence as possible anywhere. At last, in a very striking interview with his bishop, he succeeds in clearing his character, and enters on the way of promotion. The cabals continue; but later, on the overthrow of Bonapartism, he is actually raised to the episcopate. His violent temper, however, is always giving handles to the enemy, and he finally determines that life is intolerable. After trying to starve himself, he makes use of the picturesque but dangerous situation of his palace, and is crushed by falling, in apparent accident, through a breach in the garden wall with a precipice beneath – "falling like Lucifer," as his lifelong enemy and rival whispers to a confederate at the end. For the appellation has been an Ultramontane nickname for him long before, and has been not altogether undeserved by his pride at least. It has been said that the book is powerful; but it is almost unrelievedly gloomy throughout, and suffers from the extremely narrow range of its interest.

Sylviane and Taillevent.

Those who are not tired of the Cevenol atmosphere – which, it must be admitted, is quite a refreshing one – will find a lighter example in Sylviane, once more recounted by "Mr. the nephew," but with his movable uncle and gouvernante shifted back to "M. Fulcran" and "Prudence"; and in Taillevent, a much longer book, which is independent of uncle and nephew both. Sylviane has agreeable things in it, but perhaps might have been better if its form had been different. It is a long récit told by a gamekeeper, with frequent interruptions⁵³³ and a very thin "frame." Taillevent ends with two murders, the second a quite excusable lynch-punishment for the first, and the marriage of the avenger just afterwards to the daughter of the original victim, a combination of "the murders and the marriages" deserving Osric's encomia on sword furniture. So vigorous a conclusion had need have a well-stuffed course of narrative to lead up to it, and this is not wanting. There is a wicked – a very wicked – Spaniard for the lynched-murderer part; an exceedingly good dog-, bear-, and man-fight in the middle; an extensive and well-utilised wolf-trap in the woods; bankruptcies; floods; all sorts of things; with a course of "idyllic" true love running through the whole. There is a curé– a rather foolish one; but the ecclesiastical interest in itself is almost absent from the book. The weakest part of it lies in the characters of what may be called the hero and heroine of the beginning and middle – Frédéric Servières and Madeleine his wife. That the former should fall into the most frantic love before marriage, and almost neglect his wife as soon as she has borne him a child, may be said to be common enough in books, and, unluckily, by no means uncommon in life. But there may be more question about the repetition of the inconsistency in other parts of the character – extreme business aptitude and fatal neglect of business, extreme energy and fatal depression over quite small things, etc. The general combination is not impossible; it is not even improbable; but it is not quite "made so." And something is the same with Madeleine, who is, moreover, left "in the air" in so curious a fashion that one begins to wonder whether the Mrs. Martha Buskbody attitude, so often jibed at, does not possess some excuse.