A History of the French Novel, Vol. 2: To the Close of the 19th CenturySaintsbury, George
History
A History of the French Novel, Vol. 2: To the Close of the 19th Century
Saintsbury, George
French fiction -- History and criticism
The only thoroughly white sheep--though the "Champi" or foundling (his
cradle being the genial fields and not the steps of stone) has but the
grey patches noticed above, and those acquired with the best
intentions--is Madeleine Blanchet, his protectress for many years, and
finally, after difficulties and her widowhood, his wife. That she is
some twelve years older than he is is a detail which need not in itself
be of much importance. It lends itself to that combination of maternal
and sexual affection of which George Sand is so fond, and of which we
may have to speak some harsh words elsewhere. But here it matters
little. Arcady is a kind of Saturnian realm, and "mixtures" elsewhere
"held a stain" may pass there.
[Sidenote: Others--_Mauprat_.]
We may make a further _glissade_ (to return to some remarks made above),
though of a different kind, over a few of the very large number of
novels that we cannot discuss in detail. But _Mauprat_ adds just a
little support to the remarks there made. For this (which is a sort of
crime-and-detection novel, and therefore appeals to some readers more
than to the present historian) turns wholly on the atrocious deeds of a
seignorial family of the most melodramatic kind. Yet it is questionable
whether the wickedest of them ever did anything worse than the action of
their last and renegade member, who actually, when he comes into the
property, ruins his ancestral castle because naughty things have been
done there. Now, when Milton said, "As well kill a man as kill a good
book," though it was no doubt an intentional hyperbole, there was much
sound sense in what he said. Still, except in the case of such a book as
has been produced only a few times in the world's history, it may be
urged that probably something as good might be written by somebody else
among the numerous men that were not killed. But, on the same principle,
one would be justified in saying, "Better kill a hundred men than ruin a
castle with hundreds of years of memories, bad or good." You can never
replace _it_, while the hundred men will, at the very moment they are
killed, be replaced, just as good on the average, by the ordinary
operations of nature. Besides, by partially ruining the castle, you give
an opening to the sin of the restorer, for which there is, we know, _no_
pardon, here or hereafter.[190]
[Sidenote: _La Daniella._]
_La Daniella_ is a rather long book and a rather dull one. There is a
good deal of talkee-talkee of the _Corinne_ kind in it: the heroine is
an angelic Italian soubrette; the hero is one of the coxcombish heroes
of French novels, who seem to have set themselves to confirm the most
unjust ideas of their nation entertained in foreign climes; there is a
"Miss Medora," who, as the hero informs us, "plays the coquette
clumsily, as English girls generally do," etc. _Passons outre_, without
inquiring how much George Sand knew about English girls.
[Sidenote: _Les Beaux Messieurs de Bois-Dore._]
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