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 light which lightens these abodes of bliss is compact of
the rose of morning, of the flame of noon, of the purple of
even; yet no star appears on the glowing horizon. No sun
rises and no sun goes down on the country where nothing
ends, where nothing begins. But an ineffable clearness,
showering from all sides like a tender dew, maintains the
unbroken[36] daylight in a delectable eternity.
Of course any one who is so minded may belittle this as classically
cold; even as to some extent _neo_-classically bedizened; as more like,
let us say, Moore's _Epicurean_ than like our greater "prose-poets" of
the seventeenth and the nineteenth centuries. The presence in
Chateaubriand of this dose of the style that was passing, and that he
helped to make pass, has been admitted already: but I confess I think it
is only a dose. Those who care to look up the matter for themselves
might, if they do not choose to read the whole, turn to the admirable
picture of camp-life on the Lower Rhine at the opening of Book VI. as a
short contrast, while the story is full of others. Nor should one forget
to add that Chateaubriand can, when he chooses, be epigrammatic as well
as declamatory. "Such is the ugliness of man when he bids farewell to
his soul and, so to speak, keeps house only with his body" is a phrase
which might possibly shock La Harpe, but which is, as far as I remember,
original, and is certainly crisp and effective enough.
Reassembling, then, the various points which we have endeavoured to make
in respect of his position as novelist, it may once more be urged that
if not precisely a great master of the complete art of novel-writing, by
actual example, he shows no small expertness in various parts of it: and
that, as a teacher and experimenter in new developments of method and
indication of new material, he has few superiors in his own country and
not very many elsewhere. That in this pioneer quality, as well as in
mere contemporaneousness, he may, though a greater writer, be yoked with
the authoress of _Corinne_ need hardly be argued, for the accounts given
of the two should have sufficiently established it.
FOOTNOTES:
Public-domain text, read in full here on John Shaqi.
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