Жорж Санд
The George Sand-Gustave Flaubert Letters
PREFATORY NOTE
This translation of the correspondence between George Sand and Gustave Flaubert was undertaken in consequence of a suggestion by Professor Stuart P. Sherman. The translator desires to acknowledge valuable criticism given by Professor Sherman, Ruth M. Sherman, and Professor Kenneth McKenzie, all of whom have generously assisted in revising the manuscript.
A. L. McKenzie
INTRODUCTION
The correspondence of George Sand and Gustave Flaubert, if approached merely as a chapter in the biographies of these heroes of nineteenth century letters, is sufficiently rewarding. In a relationship extending over twelve years, including the trying period of the Franco-Prussian War and the Commune, these extraordinary personalities disclose the aspects of their diverse natures which are best worth the remembrance of posterity. However her passionate and erratic youth may have captivated our grandfathers, George Sand in the mellow autumn of her life is for us at her most attractive phase. The storms and anguish and hazardous adventures that attended the defiant unfolding of her spirit are over. In her final retreat at Nohant, surrounded by her affectionate children and grandchildren, diligently writing, botanizing, bathing in her little river, visited by her friends and undistracted by the fiery lovers of the old time, she shows an unguessed wealth of maternal virtue, swift, comprehending sympathy, fortitude, sunny resignation, and a goodness of heart that has ripened into wisdom. For Flaubert, too, though he was seventeen years her junior, the flamboyance of youth was long since past; in 1862, when the correspondence begins, he was firmly settled, a shy, proud, grumpy toiling hermit of forty, in his family seat at Croisset, beginning his seven years' labor at L'Education Sentimentale, master of his art, hardening in his convictions, and conscious of increasing estrangement from the spirit of his age. He, with his craving for sympathy, and she, with her inexhaustible supply of it, meet; he pours out his bitterness, she her consolation; and so with equal candor of self-revelation they beautifully draw out and strengthen each the other's characteristics, and help one another grow old.
But there is more in these letters than a satisfaction for the biographical appetite, which, indeed, finds ITS account rather in the earlier chapters of the correspondents' history. What impresses us here is the banquet spread for the reflective and critical faculties in this intercourse of natural antagonists. As M. Faguet observes in a striking paragraph of his study of Flaubert:
"It is a curious thing, which does honor to them both, that Flaubert and George Sand should have become loving friends towards the end of their lives. At the beginning, Flaubert might have been looked upon by George Sand as a furious enemy. Emma [Madame Bovary] is George Sand's heroine with all the poetry turned into ridicule. Flaubert seems to say in every page of his work: 'Do you want to know what is the real Valentine, the real Indiana, the real Lelia? Here she is, it is Emma Roualt.' 'And do you want to know what becomes of a woman whose education has consisted in George Sand's books? Here she is, Emma Roualt.' So that the terrible mocker of the bourgeois has written a book which is directly inspired by the spirit of the 1840 bourgeois. Their recriminations against romanticism 'which rehabilitates and poetises the courtesan,' against George Sand, the Muse of Adultery, are to be found in acts and facts in Madame Bovary."
Now, the largest interest of this correspondence depends precisely upon the continuance, beneath an affectionate personal relationship, of a fundamental antagonism of interests and beliefs, resolutely maintained on both sides. George Sand, with her lifelong passion for propaganda and reformation, labors earnestly to bring Flaubert to her point of view, to remould him nearer to her heart's desire. He, with a playful deference to the sex and years of his friend, addresses her in his letters as "Dear Master." Yet in the essentials of the conflict, though she never gives over her effort, he never budges a jot; he has taken his ground, and in his last unfinished work, Bouvard and Pecuchet, he dies stubbornly fortifying his position. To the last she speaks from a temperament lyrical, sanguine, imaginative, optimistic and sympathetic; he from a temperament dramatic, melancholy, observing, cynical, and satirical. She insists upon natural goodness; he, upon innate depravity. She urges her faith in social regeneration; he vents his splenetic contempt for the mob. Through all the successive shocks of disillusioning experience, she expects the renovation of humanity by some religious, some semi-mystical, amelioration of its heart; he grimly concedes the greater part of humanity to the devil, and can see no escape for the remnant save in science and aristocratic organization. For her, finally, the literary art is an instrument of social salvation – it is her means of touching the world with her ideals, her love, her aspiration; for him the literary art is the avenue of escape from the meaningless chaos of existence – it is his subtly critical condemnation of the world.
The origins of these unreconciled antipathies lie deep beneath the personal relationship of George Sand and Gustave Flaubert; lie deep beneath their successors, who with more or less of amenity in their manners are still debating the same questions today. The main currents of the nineteenth century, with fluent and refluent tides, clash beneath the controversy; and as soon as one hears its "long withdrawing roar," and thinks it is dying away, and is become a part of ancient history, it begins again, and will be heard, no doubt, by the last man as a solemn accompaniment to his final contention with his last adversary.
George Sand was, on the whole, a natural and filial daughter of the French Revolution. The royal blood which she received from her father's line mingled in her veins with that of the Parisian milliner, her mother, and predestined her for a leveller by preparing in her an instinctive ground of revolt against all those inherited prejudices which divided the families of her parents. As a young girl wildly romping with the peasant children at Nohant she discovered a joy in untrammeled rural life which was only to increase with years. At the proper age for beginning to fashion a conventional young lady, the hoyden was put in a convent, where she underwent some exalting religious experiences; and in 1822 she was assigned to her place in the "established social order" by her marriage at seventeen to M. Dudevant. After a few years of rather humdrum domestic life in the country, she became aware that this gentleman, her husband, was behaving as we used to be taught that all French husbands ultimately behave; he was, in fact, turning from her to her maids. The young couple had never been strongly united – the impetuous dreamy girl and her coarse hunting mate; and they had grown wide apart. She should, of course, have adjusted herself quietly to the altered situation and have kept up appearances. But this young wife had gradually become an "intellectual"; she had been reading philosophy and poetry; she was saturated with the writings of Rousseau, of Chateaubriand, of Byron. None of the spiritual masters of her generation counselled acquiescence in servitude or silence in misery. Every eloquent tongue of the time-spirit urged self-expression and revolt. And she, obedient to the deepest impulses of her blood and her time, revolted.
At the period when Madame Dudevant withdrew her neck from the conjugal yoke and plunged into her literary career in Paris, the doctrine that men are created for freedom, equality and fraternity was already somewhat hackneyed. She, with an impetus from her own private fortunes, was to give the doctrine a recrudescence of interest by resolutely applying it to the status of women. We cannot follow her in detail from the point where she abandons the domestic sewing-basket to reappear smoking black cigars in the Latin Quarter. We find her, at about 1831, entering into competition with the brilliant literary generation of Balzac, Hugo, Alfred de Musset, Merimee, Stendhal, and Sainte-Beuve. To signalize her equality with her brothers in talent, she adopts male attire: "I had a sentry-box coat made, of rough grey cloth, with trousers and waist-coat to match. With a grey hat and a huge cravat of woolen material, I looked exactly like a first-year student." In the freedom of this rather unalluring garb she entered into relations Platonic, fraternal, or tempestuously passionate with perhaps the most distinguished series of friends and lovers that ever fluttered about one flame. There was Aurelien de Seze; Jules Sandeau, her first collaborator, who "reconciled her to life" and gave her a nom de guerre; the inscrutable Merimee, who made no one happy; Musset – an encounter from which both tiger-moths escaped with singed wings; the odd transitional figure of Pagello; Michel Euraed; Liszt; Chopin, whom she loved and nursed for eight years; her master Lamennais; her master Pierre Leroux; her father-confessor Sainte-Beuve; and Gustave Flaubert, the querulous friend of her last decade.
As we have compressed the long and complex story of her personal relationships, so we must compress the intimately related history of her works and her ideas. When under the inspiration of Rousseau, the emancipated George Sand began to write, her purposes were but vaguely defined. She conceived of life as primarily an opportunity for unlimited self-expansion, and of literature as an opportunity for unrestricted self-expression. "Nevertheless," she declares, "my instincts have formed, without my privity, the theory I am about to set down, – a theory which I have generally followed unconsciously. … According to this theory, the novel is as much a work of poetry as of analysis. It demands true situations, and characters not only true but real, grouped about a type intended to epitomize the sentiment or the main conceptions of the book. This type generally represents the passion of love, since almost all novels are love- stories. According to this theory (and it is here that it begins) the writer must idealize this love, and consequently this type, – and must not fear to attribute to it all the powers to which he inwardly aspires, or all the sorrows whose pangs he has observed or felt. This type must in no wise, however, become degraded by the vicissitude of events; it must either die or triumph."
In 1831, when her pen began its fluent course through the lyrical works of her first period – Indiana, Valentine, Lelia, Jacques, and the rest – we conceive George Sand's culture, temper, and point of view to have been fairly comparable with those of the young Shelley when, fifteen years earlier, he with Mary Godwin joined Byron and Jane Clairmont in Switzerland – young revoltes, all of them, nourished on eighteenth century revolutionary philosophy and Gothic novels. Both these eighteenth century currents meet in the work of the new romantic group in England and in France. The innermost origin of the early long poems of Shelley and the early works of George Sand is in personal passion, in the commotion of a romantic spirit beating its wings against the cage of custom and circumstance and institutions. The external form of the plot, whatever is fantastic and wilful in its setting and its adventures, is due to the school of Ann Radcliffe. But the quality in Shelley and in George Sand which bewitched even the austere Matthew Arnold in his green and salad days is the poetising of that liberative eighteenth century philosophy into "beautiful idealisms" of a love emancipated from human limitations, a love exalted to the height of its gamut by the influences of nature, triumphantly seeking its own or shattered in magnificent despair. In her novels of the first period, George Sand takes her Byronic revenge upon M. Dudevant. In Indiana and its immediate successors, consciously or unconsciously, she declares to the world what a beautiful soul M. Dudevant condemned to sewing on buttons; in Jacques she paints the man who might fitly have matched her spirit; and by the entire series, which now impresses us as fantastic in sentiment no less than in plot, she won her early reputation as the apologist for free love, the adversary of marriage.
In her middle period – say from 1838 to 1848 – of which The Miller of Aginbault, Consuelo, and The Countess of Rudolstadt are representative works, there is a marked subsidence of her personal emotion, and, in compensation, a rising tide of humanitarian enthusiasm. Gradually satiated with erotic passion, gradually convinced that it is rather a mischief-maker than a reconstructive force in a decrepit society, she is groping, indeed, between her successive liaisons for an elusive felicity, for a larger mission than inspiring Musset's Alexandrines or Chopin's nocturnes. It is somewhat amusing, and at the same time indicative of her vague but deep-seated moral yearnings, to find her writing rebukingly to Sainte-Beuve, as early as 1834, apropos of his epicurean Volupte: "Let the rest do as they like; but you, dear friend, you must produce a book which will change and better mankind, do you see? You can, and therefore should. Oh, if poor I could do it! I should lift my head again and my heart would no longer be broken; but in vain I seek a religion: Shall it be God, shall it be love, friendship, the public welfare? Alas, it seems to me that my soul is framed to receive all these impressions, without one effacing another … Who shall paint justice as it should, as it may, be in our modern society?"
To Sainte-Beuve, himself an unscathed intellectual Odysseus, she declares herself greatly indebted intellectually; but on the whole his influence seems to have been tranquillizing. The material for the radical program, economic, political, and religious, which, like a spiritual ancestor of H. G. Wells, she eagerly sought to popularize by the novels of her middle years, was supplied mainly by Saint-Simon, Lamennais, and Leroux. Her new "religion of humanity," a kind of theosophical socialism, is too fantastically garbed to charm the sober spirits of our age. And yet from the ruins of that time and from the emotional extravagance of books grown tedious, which she has left behind her, George Sand emerges for us with one radiant perception which must be included in whatever religion animates a democratic society: "Everyone must be happy, so that the happiness of a few may not be criminal and cursed by God."
One of George Sand's French critics, M. Caro, a member of the Academy, who deals somewhat austerely with her religiose enthusiasms and with her Utopian projects for social reformation, remarks gravely and not without tenderness:
"The one thing needful to this soul, so strong, so rich in enthusiasm, is a humble moral quality that she disdains, and when she has occasion to speak of it, even slanders, – namely resignation. This is not, as she seems to think, the sluggish virtue of base souls, who, in their superstitious servitude to force, hasten to crouch beneath every yoke. That is a false and degrading resignation; genuine resignation grows out of the conception of the universal order, weighed against which individual sufferings, without ceasing to be a ground of merit, cease to constitute a right of revolt. … Resignation, in the true, the philosophical, the Christian sense, is a manly acceptance of moral law and also of the laws essential to the social order; it is a free adherence to order, a sacrifice approved by reason of a part of one's private good and of one's personal freedom, not to might nor to the tyranny of a human caprice, but to the exigencies of the common weal, which subsists only by the concord of individual liberty with obedient passions."
Well, resigned in the sense of defeated, George Sand never became; nor did she, perhaps, ever wholly acquiesce in that scheme of things which M. Caro impressively designates as "the universal order." Yet with age, the abandonment of many distractions, the retreat to Nohant, the consolations of nature, and her occupation with tales of pastoral life, beginning with La Mare au Diable, there develops within her, there diffuses itself around her, there appears in her work a charm like that which falls upon green fields from the level rays of the evening sun after a day of storms. It is not the charm, precisely, of resignation; it is the charm of serenity – the serenity of an old revolutionist who no longer expects victory in the morning yet is secure in her confidence of a final triumph, and still more secure in the goodness of her cause. "A hundred times in life," she declares, "the good that one does seems to serve no immediate purpose; yet it maintains in one way and another the tradition of well wishing and well doing, without which all would perish." At the outset of her career we compared her with Shelley. In her last phase, she reminds us rather of the authors of Far from the Madding Crowd and The Mill on the Floss, and of Wordsworth, once, too, a torch of revolution, turning to his Michaels and his leech-gatherers and his Peter Bells. Her exquisite pictures of pastoral life are idealizations of it; her representations of the peasant are not corroborated by Zola's; to the last she approaches the shield of human nature from the golden side. But for herself at least she has found a real secret of happiness in country life, tranquil work, and a right direction given to her own heart and conscience.
It is at about this point in her spiritual development that she turns towards Gustave Flaubert – perhaps a little suspiciously at first, yet resolved from the first, according to her natural instinct and her now fixed principles, to stimulate by believing in his admirable qualities. Writing from Nohant in 1866 to him at Croisset, she epitomises her distinction as a woman and as an author in this playful sally: "Sainte-Beuve, who loves you nevertheless, pretends that you are dreadfully vicious. But perhaps he sees with eyes a bit dirty, like that learned botanist who pretends that the germander is of a DIRTY yellow. The observation was so false that I could not help writing on the margin of his book: 'IT IS YOU, WHOSE EYES ARE DIRTY.'"
We have spoken of George Sand as a faithful daughter of the French Revolution; and by way of contrast we may speak of Flaubert as a disgruntled son of the Second Empire. Between his literary advent and hers there is an interval of a generation, during which the proud expansive spirit and the grandiose aspirations imparted to the nation by the first Napoleon dwindled to a spirit of mediocrity and bourgeois smugness under a Napoleon who had inherited nothing great of his predecessor but his name. This change in the time-spirit may help to explain the most significant difference between Flaubert and George Sand. He inherited the tastes and imagination of the great romantic generation; but he inherited none of its social and political enthusiasm. He was disciplined by the romantic writers; yet his reaction to the literary culture of his youth is not ethical but aesthetic; he finds his inspiration less in Rousseau than in Chateaubriand. He is bred to an admiration of eloquence, the poetic phrase, the splendid picture, life in the grand style; with increasing disgust he finds himself entering a society which, he feels, neither understands nor values any of these things, and which threatens their destruction. Consequently, we find him actuated as a writer by two complementary passions – the love of splendor and the hatred of mediocrity – two passions, of which the second sometimes alternates with the first, sometimes inseparably fuses with it, and ultimately almost extinguishes it.
The son of an eminent surgeon of Rouen, Gustave Flaubert may have acquired from his father something of that scientific precision of observation and that cutting accuracy of expression, by which he gained his place at the head of modern French realism and won the discipleship of the Goncourts, Daudet, Zola, and Maupassant and the applause of such connoisseurs of technique as Walter Pater and Henry James. From his mother's Norman ancestry he inherited the physique of a giant, tainted with epilepsy; a Viking countenance, strong- featured with leonine moustaches; and a barbaric temper, habitually somewhat lethargic but irritable, and, when roused, violent and intolerant of opposition. He had a private education at Rouen, with wide desultory reading; went to Paris, which he hated, to study law, which he also hated; frequented the theatres and studios; travelled in Corsica, the Pyrenees, and the East, which he adored, seeing Egypt, Palestine, Constantinople, and Greece; and he had one, and only one, important love-affair, extending from 1846 to 1854 – that with Mme. Louise Colet, a woman of letters, whose difficult relations with Flaubert are sympathetically touched upon in Pater's celebrated essay on "Style." When by the death of his father, in 1845, he succeeded to the family-seat at Croisset, near Rouen, he settled himself in a studious solitude to the pursuit of letters, which he followed for thirty-four years with anguish of spirit and dogged persistence.
Flaubert probably loved glory as much as any man; but he desired to receive it only on his own terms. He profoundly appeals to writers endowed with "the artistic conscience" as "the martyr of literary style." In morals something of a libertine, in matters of art he exhibited the intolerance of weakness in others and the remorseless self-examination and self-torment commonly attributed to the Puritan. His friend Maxime Du Camp, who tried to bring him out and teach him the arts of popularity, he rebuffed with deliberate insult. He developed an aversion to any interruption of his work, and such tension and excitability of nerves that he shunned a day's outing or a chat with an old companion, lest it distract him for a month afterward. His mistress he seems to have estranged by an ill- concealed preference to her of his exacting Muse. To illustrate his "monkish" consecration to his craft we cannot do better than reproduce a passage, quoted by Pater, from his letters to Madame Colet:
"I must scold you for one thing, which shocks, scandalises me, the small concern, namely, you show for art just now. As regards glory be it so – there I approve. But for art! – the one thing in life that is good and real – can you compare with it an earthly love? – prefer the adoration of a relative beauty to the cultus of the true beauty? Well! I tell you the truth. That is the one thing good in me: the one thing I have, to me estimable. For yourself, you blend with the beautiful a heap of alien things, the useful, the agreeable, what not?
"The only way not to be unhappy is to shut yourself up in art, and count everything else as nothing. Pride takes the place of all beside when it is established on a large basis. Work! God wills it. That, it seems to me, is clear.
"I am reading over again the Aeneid, certain verses of which I repeat to myself to satiety. There are phrases there which stay in one's head, by which I find myself beset, as with those musical airs which are forever returning, and cause you pain, you love them so much. I observe that I no longer laugh much, and am no longer depressed. I am ripe, you talk of my serenity, and envy me. It may well surprise you. Sick, irritated, the prey a thousand times a day of cruel pain, I continue my labour like a true working-man, who, with sleeves turned up, in the sweat of his brow, beats away at his anvil, never troubling himself whether it rains or blows, for hail or thunder. I was not like that formerly."
The half-dozen works which Flaubert beat out on his "anvil," with an average expenditure of half-a-dozen years to each, were composed on a theory of which the prime distinguishing feature was the great doctrine of "impersonality." George Sand's fluent improvisations ordinarily originated, as we have noted, in an impulse of her lyrical idealism; she began with an aspiration of her heart, to execute which she invented characters and plot so that she is always on the inside of her story. According to Flaubert's theory, the novel should originate in a desire to present a certain segment of observed life. The author is to take and rigorously maintain a position outside his work. The organ with which he collects his materials is not his heart but his eyes, supplemented by the other senses. Life, so far as the scientific observer can be sure of it, and so far as the artist can control it for representation, is a picture or series of pictures, a dramatic scene or a concatenation of dramatic scenes. Let the novelist first, therefore, with scrupulous fidelity and with minute regard for the possible significance of every observable detail, fill his notebooks, amass his materials, master his subject. After Flaubert, a first-rate sociological investigator is three-fourths of a novelist. The rest of the task is to arrange and set forth these facts so that they shall tell the truth about life impressively, in scene and dramatic spectacle, the meaning of which shall be implicit in the plot and shall reach the reader's consciousness through his senses.
Critics have spent much time in discussing the conflict of "romantic" and "realistic" tendencies in Flaubert's works. And it is obviously easy, so far as subject-matter is concerned, to group his books in two divisions: on the one hand, The Temptation of St. Anthony, Salammbo, and two of the Trois Contes; on the other hand, Madame Bovary, L'Education Sentimentale, and the incomplete Bouvard and Pecuchet. We may call the tales in the first group romantic, because the subject-matter is remote in time and place, and because in them Flaubert indulges his passion for splendor – for oriental scenery, for barbaric characters, the pomp of savage war and more savage religion, events strange, terrible, atrocious. We may call the stories in the other group realistic, because the subject-matter is contemporary life in Paris and the provinces, and because in them Flaubert indulges his hatred for mediocrity – for the humdrum existence of the country doctor, the apothecary, the insipid clerk, the vapid sentimental woman, and the charlatans of science. But as a matter of fact, ALL his books are essentially constructed on the same theory: all are just as "realistic" as Flaubert could make them.
Henry James called Madame Bovary a brilliantly successful application of Flaubert's theory; he pronounced L'Education Sentimentale "elaborately and massively dreary"; and he briefly dismissed Salammbo as an accomplished work of erudition. Salammbo is indeed a work of erudition; years were spent in getting up its archaeological details. But Madame Bovary is also a work of erudition, and Bouvard and Pecuchet is a work of enormous erudition; a thousand volumes were read for the notes of the first volume and Flaubert is said to have killed himself by the labor of his unfinished investigations. There is no important distinction to be made between the method or the thoroughness with which he collected his facts in the one case or the other; and the story of the war of the mercenaries against the Carthaginians is evolved with the same alternation of picture and dramatic spectacle and the same hard merciless externality that distinguish the evolution of Emma Bovary's history.
We may go still farther than that towards wiping out the distinction between Flaubert's "romantic" and his "realistic" works; and by the same stroke what is illusory in the pretensions of the realists, namely, their aspiration to an "impersonal art."
If we were seeking to prove that an author can put NOTHING BUT HIMSELF into his art, we should ask for no more impressive illustions than precisely, Madame Bovary and Salammbo. These two masterpieces disclose to reflection, no less patently than the works of George Sand, their purpose and their meaning. And that purpose and meaning are not a whit less personal to Flaubert than the purpose and meaning of Indiana, let us say, are personal to George Sand. The "meaning" of Madame Bovary and Salammbo is, broadly speaking, Flaubert's sense of the significance – or, rather, of the insignificance – of human life; and the "purpose" of the books is to express it. The most lyrical of idealists can do no more to reveal herself.
The demonstration afforded by a comparison of Salammbo and Madame Bovary is particularly striking because the subject-matters are superficially so unlike. But take any characteristic series of pictures or incidents from Salammbo: take the passing of the children through the fire to Moloch, or the description of the leprous Hanno, or the physical surrender of the priestess to her country's enemy, or the following picture of the crucified lion:
"They were marching through a wide defile, hedged in by two chains of reddish hillocks, when a nauseous odor struck their nostrils, and they believed that they saw something extraordinary at the top of a carob tree; a lion's head stood up above the foliage.
"Running towards it, they found a lion attached to a cross by its four limbs, like a criminal; his enormous muzzle hung to his breast, and his forepaws, half concealed beneath the abundance of his mane, were widely spread apart, like a bird's wings in flight; under the tightly drawn skin, his ribs severally protruded and his hind legs were nailed together, but were slightly drawn up; black blood had trickled through the hairs, and collected in stalactites at the end of his tail, which hung straight down the length of the cross. The soldiers crowded around the beast, diverting themselves by calling him 'Consul!' and 'Citizen of Rome!' and threw pebbles into his eyes to scatter the swarming gnats."
