And I am convinced more and more of this truth: the doctrine of grace has so thoroughly permeated us that the sense of justice has disappeared. What terrified me so in the history of ‘48 has quite naturally its origins in the Revolution, which had not liberated itself from the middle ages, no matter what they say. I have re- discovered in Marat entire fragments of Proudhon (sic) and I wager that they would be found again in the preachers of the League.
What is the measure that the most advanced proposed after Varennes? Dictatorship and military dictatorship. They close the churches, but they raise temples, etc.
I assure you that I am becoming stupid with the Revolution. It is a gulf which draws me in.
However, I work at my novel like a lot of oxen. I hope on New Year’s Day not to have over a hundred pages more to write, that is to say, still six good months of work. I shall go to Paris as late as possible. My winter is to pass in complete solitude, good way of making life run along rapidly.
XCVIII. TO GUSTAVE FLAUBERT, in Paris
Nohant, 20 November, 1868
You say to me, “When shall we see each other?” About the 15th of December, we are baptizing here our two little girls as Protestants. It is Maurice’s idea; he was married before the pastor, and does not want the persecution and influence of the Catholic church about his children. Our friend Napoleon is the godfather of Aurore, and I am the godmother. My nephew is the godfather of the other. All that takes place just among ourselves, in the family. You must come, Maurice wants you to, and if you say no, you will disappoint him greatly. You shall bring your novel, and in a free moment, you shall read it to me; it will do you good to read it to one who listens well. One gets a perspective and judges one’s work better. I know that. Say yes to your old troubadour, he will be EXCEEDINGLY GRATEFUL to you for it.
I embrace you six times if you say yes.
G. Sand
XCIX. TO GEORGE SAND
Tuesday
Dear master,
You cannot imagine the sorrow you give me! In spite of the longing I have, I answer “no.” Yet I am distracted with my desire to say “yes.” It makes me seem like a gentleman who cannot be disturbed, which is very silly. But I know myself: if I go to your house at Nohant, I shall have a month of dreaming about my trip. Real pictures will replace in my brain the fictitious pictures which I compose with great difficulty. All my house of cards will topple over.
Three weeks ago because I was foolish enough to accept an invitation to dinner at a country place nearby, I lost four days (sic). What would it be on leaving Nohant? You do not understand that, you strong Being! I think that you will be a little vexed with your old troubadour for not coming to the baptism of the two darlings of his friend Maurice? The dear master must write to me if I am wrong, and to give me the news!
Here is mine! I work immoderately and am absolutely ENCHANTED by the prospect of the end which begins to be visible.
So that it may arrive more quickly, I have made the resolution to live here all winter, probably until the end of March. Even admitting that everything goes perfectly, I shall not have finished all before the end of May. I don’t know anything that goes on and I read nothing, except a little of the French Revolution, after my meals, to aid digestion. I have lost my former good habit of reading every day in Latin. Therefore I don’t know a word of it any more! I shall polish it up again when I am freed from my odious bourgeois, and I am nowhere near it.
My only excitement consists in going to dine on Sundays at Rouen with my mother. I leave at six o’clock, and I am home at ten. Such is my life.
Did I tell you that I had a visit from Tourgueneff? How you would love him!
Sainte-Beuve gets along. Anyway, I shall see him next week when I am in Paris for two days, to get necessary information What is the information about? The national guard!!!
Listen to this: le Figaro not knowing with what to fill its columns, has had the idea of saying that my novel tells the life of Chancellor Pasquier. Thereupon, fear of the aforesaid family, which wrote to another part of the same family living in Rouen, which latter has been to find a lawyer from whom my brother received a visit, so that … in short, I was very stupid not to “get some benefit from the opportunity.” Isn’t it a fine piece of idiocy, eh?
C. TO GUSTAVE FLAUBERT, AT CEOISSET
Nohant, 21 December, 1868
Certainly, I am cross with you and angry with you, not from unreasonableness nor from selfishness, but on the contrary, because we were joyous and HILARIOUS and you would not distract yourself and amuse yourself with us. If it was to amuse yourself elsewhere, you would be pardoned in advance; but it was to shut yourself up, to get all heated up, and besides for a work which you curse, and which — wishing to do and being obliged to do anyhow, — you ought to be able to do at your ease and without becoming too absorbed in it.
You tell me that you are like that. There is nothing more to say; but one may well be distressed at having an adored friend, a captive in chains far away, whom one may not free. It is perhaps a little coquettish on your part, so as to make yourself pitied and loved the more. I, who have not buried myself alive in literature, have laughed and lived a great deal during these holidays, but always thinking of you and talking of you with our friend of the Palais Royal, [Footnote: Jerome Napoleon.] who would have been happy to see you and who loves you and appreciates you a great deal. Tourgueneff has been more fortunate than we, since he was able to snatch you from your ink-well. I know him personally very little, but I know his work by heart. What talent! and how original and polished! I think that the foreigners do better than we do. They do not pose, while we either put on airs or grovel: the Frenchman has no longer a social milieu, he has no longer an intellectual milieu.
I except you, you who live a life of exception, and I except myself, because of the foundation of careless unconventionally which was bestowed upon me; but I, I do not know how to be “careful” and to polish, and I love life too much, and I am amused too much by the mustard and all that is not the real “dinner,” to ever be a litterateur. I have had flashes of it, but they have not lasted. Existence where one ignores completely one’s “moi” is so good, and life where one does not play a role is such a pretty performance to watch and to listen to! When I have to give of myself, I live with courage and resolution, but I am no longer amused.
You, oh! fanatical troubadour, I suspect you of amusing yourself at your profession more than at anything in the world. In spite of what you say about it, art could well be your sole passion, and your shutting yourself up, at which I mourn like the silly that I am, your state of pleasure. If it is like that then, so much the better, but acknowledge it to console me.
I am going to leave you in order to dress the marionettes, for the plays and the laughter have been resumed with the bad weather, and that will keep us busy for a part of the winter, I fancy. Behold! here I am, the imbecile that you love, and that you call MASTER. A fine master who likes to amuse himself better than to work!
Scorn me profoundly, but love me still. Lina tells me to tell you that you are not much, and Maurice is furious too; but we love you in spite of ourselves and embrace you just the same. Our friend Plauchut wants to be remembered to you; he adores you too.
Yours, you huge ingrate,
G. Sand
I had read the hoax of le Figaro and had laughed at it. It turns out to have assumed grotesque proportions. As for me, they gave me a grandson instead of two granddaughters, and a Catholic baptism instead of a Protestant. That does not make any difference. One really has to lie a little to divert oneself.
1869
CI. TO GEORGE SAND
Saint Sylvester’s night, one o’clock, 1869
Why should I not begin the year of 1869 in wishing to you and to yours “Happy New Year and many of them”? It is rococo, but it pleases me. Now, let us talk.
No, I don’t get into a heat, for I have never been better. They thought me, in Paris, “fresh as a young girl,” and those people
who don’t know my life attributed that appearance of health to the air of the country. That is what conventional ideas are. Every one has his system. For my part, when I am not hungry, the only thing I can eat is dry bread. And the most indigestible food, such as apples in sour cider, and bacon, are what cure me of the stomach-ache. And so on. A man who has no common sense ought not to try to live according to common-sense rules.
As for my frenzy for work, I will compare it to an attack of herpes. I scratch myself while I cry. It is both a pleasure and a torture at the same time. And I am doing nothing that I want to! For one does not choose one’s subjects, they force themselves on one. Shall I ever find mine? Will an idea fall from Heaven suitable to my temperament? Can I write a book to which I shall give myself heart and soul? It seems to me in my moments of vanity, that I am beginning to catch a glimpse of what a novel ought to be. But I still have three or four of them to write before that one (which is, moreover, very vague), and at the rate I am going, if I write these three or four, that will be the most I can do. I am like M. Prudhomme, who thinks that the most beautiful church would be one which had at the same time the spire of Strasbourg, the colonnade of Saint Peter’s, the portico of the Parthenon, etc. I have contradictory ideals. Thence embarrassment, hesitation, impotence.
As to whether the “claustration” to which I condemn myself may be a “state of joy,” no. But what can I do? To get drunk with ink is more worth while than to get drunk with brandy. The muse, cross-grained as she is, gives less trouble than a woman. I cannot harmonize the one with the other. I must choose. My choice was made a long time ago. There remains the matter of the senses. They have always been my servants. Even at the time of my earliest youth, I did exactly as I wanted with them. I have reached my fiftieth year, and it is not their ardor that troubles me.
This regime is not amusing, I agree to that. There are moments of empty and horrible boredom. But they become more and more rare in proportion as one grows older. In short, LIVING seems to me a business for which I was not made, and yet…!
I stayed in Paris for three days, which I made use of in hunting up information, and in doing errands about my book. I was so worn out last Friday, that I went to bed at seven o’clock in the evening. Such are my mad orgies at the capital.
I found the Goncourts in a frenzied (sic) admiration over a book entitled Histoire de ma vie by George Sand. Which proves more good taste than learning on their part. They even wanted to write to you to express all their admiration. (In return I found ***** stupid. He compares Feydeau to Chateaubriand, admires very much the Lepreux de la cite d’Aoste, finds Don Quichotte tedious, etc.).
Do you notice how rare literary sense is? The knowledge of language, archeology, history, etc., all that should be useful however! Well! well! not at all! The so-called enlightened people are becoming more and more incompetent in the matter of art. Even what art means escapes them. The glosses for them are more important than the text. They pay more attention to the crutches than to the legs themselves.
CII. TO GUSTAVE FLAUBERT 1st January, 1869
It is one o’clock, I have just embraced my children. I am tired from having spent the night in making a complete costume for a large doll for Aurore; but I don’t want to turn in without embracing you also, my great friend, and my dear, big child. May ‘69 be easy for you, and may it see the end of your novel. May you keep well and be always yourself! I don’t know anything better, and I love you.
G. Sand
I have not the address of the Goncourts. Will you put the enclosed answer in the mail?
CIII. TO GUSTAVE FLAUBERT, at Croissset
Nohant, 17 January, 1869
The individual named George Sand is well: he is enjoying the marvelous winter which reigns in Berry, gathering flowers, noting interesting botanical anomalies, making dresses and mantles for his daughter-in-law, costumes for the marionettes, cutting out scenery, dressing dolls, reading music, but above all spending hours with the little Aurore who is a marvelous child. There is not a more tranquil or a happier individual in his domestic life than this old troubadour retired from business, who sings from time to time his little song to the moon, without caring much whether he sings well or ill, provided he sings the motif that runs in his head, and who, the rest of the time, idles deliciously. It has not always been as nice as this. He had the folly to be young; but as he did no evil nor knew evil passions, nor lived for vanity, he is happy enough to be peaceful and to amuse himself with everything.
This pale character has the great pleasure of loving you with all his heart, and of not passing a day without thinking of the other old troubadour, confined in his solitude of a frenzied artist, disdainful of all the pleasures of this world, enemy of the magnifying glass and of its attractions. We are, I think, the two most different workers that exist; but since we like each other that way, it is all right. The reason each of us thinks of the other at the same hour, is because each of us has a need of his opposite; we complete ourselves, in identifying ourselves at times with what is not ourselves.
I told you, I think, that I had written a play on returning from Paris. They liked it; but I don’t want them to play it in the spring, and the end of the winter is filled up, unless the play they are rehearsing fails. As I do not know how to WISH my colleagues ill luck, I am in no hurry and my manuscript is on the shelf. I have the time. I am writing my little annual novel, when I have one or two hours a day to get to work on it; I am not sorry to be prevented from thinking of it. That develops it. Always before going to sleep, I have an agreeable quarter of an hour to continue it in my head; there you have it.
I know nothing, nothing at all of the Sainte-Beuve incident. I get a dozen newspapers, whose wrappers I respect to such an extent that without Lina, who tells me the chief news from time to time, I would not know if Isidore were still among us.
Sainte-Beuve is very high tempered, and, as regards opinions, so perfectly skeptical, that I should never be astonished at anything he did, in one sense or the other. He was not always like that, at least not so much so. I have known him to be more credulous and more republican than I was then. He was thin and pale, and gentle; how people change! His talent, his knowledge, his mind have increased enormously, but I used to like his character better. Just the same, there is still much good in him. There is still love and reverence for letters — and he will be the last of the critics. Criticism rightly so-called, will disappear. Perhaps there is no longer any reason for its existence. What do you think about it?
It appears that you are studying the boor (pignouf). As for me, I avoid him. I know him too well. I love the Berrichon peasant who is not, who never is, a boor, even when he is of no great account; the word pignouf has its depths; it was created exclusively for the bourgeois, wasn’t it? Ninety out of a hundred provincial middle- class women are boorish (pignouf lardes) to a high degree, even with pretty faces that ought to give evidence of delicate instincts. One is surprised to find a basis of gross self-sufficiency in these false ladies. Where is the woman now? She is becoming a freak in society.
Good night, my troubadour: I love you, and I embrace you warmly;
Maurice also.
G. Sand
CIV. TO GEORGE SAND
Croisset, Tuesday, 2 February, 1869
My dear master,
You see in your troubadour a worn-out man. I have spent a week in Paris, looking up wearisome information (from seven to nine hours in fiacres every day, which is a fine way to make money out of literature). Oh, well!
I have just reread my outline. All that I have still to write horrifies me, or rather disgusts me, so that I want to vomit. It is always so, when I get to work. It is then that I am bored, bored, bored! But this time exceeds all others. That is why I dread so much interruptions in the daily grind. I could not do otherwise, however. I dragged about at funerals at Pere-Lachaise, in the valley of Montmorency, through shops of religious objects, etc.
In short, I have enough material for four or five months no
w. What a big “Hooray” I shall utter, when it is finished, and when I am not in the midst of remaking the bourgeois! It is high time that I enjoyed life.
I saw Sainte-Beuve and the Princess Mathilde, and I know thoroughly the story of their break, which seems to me irrevocable. Sainte- Beuve was outraged against Dalloz and has gone to le Temps. The princess begged him not to do anything about it. He did not listen to her. That is all. My opinion on it, if you wish to know it, is this. The first wrong was done by the princess, who was hasty; but the second and the worst was by pere Beuve, who did not behave as a courteous man. If one has a friend, a rather good fellow, and that friend has given one thirty thousand francs a year income, one owes him some consideration. It seems to me that in Sainte-Beuve’s place I should have said, “That displeases you, let us talk no more about it.” He lacked manners and poise. What disgusted me a little, between ourselves, was the way he praised the emperor to me! yes, he praised Badinguet, to me! — And we were alone!
The princess had taken the thing too seriously from the beginning. I wrote to her, saying that Sainte-Beuve was right; he, I am sure, found me rather cold. It was then, in order to justify himself to me, that he made these protestations of isidorian love, which humiliated me a little; for it was as if he took me for a complete imbecile.
I think that he is preparing for a funeral like Beranger’s, and that Hugo’s popularity makes him jealous. Why write for the papers, when one can make books, and when one is not perishing of hunger? He’s no sage, Sainte-Beuve. Not like you!
Your strength charms me and amazes me. I mean the strength of your entire being, not only that of your brain.
You speak of criticism in your last letter to me, telling me that it will soon disappear. I think, on the contrary, that it is, at most, only at its dawning. They are on a different tack from before, but nothing more. At the time of La Harpe, they were grammarians; at the time of Sainte-Beuve and of Taine, they are historians. When will they be artists, only artists, but really artists? Where do you know a criticism? Who is there who is anxious about the work in itself, in an intense way? They analyze very keenly the setting in which it was written, and the causes that produced it; but the UNCONSCIOUS poetic expression? Where it comes from? its composition, its style? the point of view of the author? Never.
Complete Works of Gustave Flaubert Page 519
