Main Currents in Nineteenth Century Literature - 5. The Romantic School in FranceBrandes, Georg
History
Main Currents in Nineteenth Century Literature - 5. The Romantic School in France
Brandes, Georg
Literature, Modern -- 19th century -- History and criticism; Naturalism in literature; Romanticism
Yet it was not his style which prevailed and became that of the
next generation of writers. It was not Mérimée but Gautier, who, as
a stylist, was the founder of a school. And I am not of the number
of those who regret that a more luxuriant and sensuous style was
victorious, and that later French authors have aimed, not merely at
making their periods distinct and faultlessly correct, but also at
imparting to them, when possible, melody, colour, fragrance. The
treatment of language introduced by Gautier, continued by Flaubert and
the Goncourt brothers, and transmitted by them to Zola and Daudet, has
undoubtedly its weak side; and this the most prominent recent master of
the descriptive style has not been slow to recognise and acknowledge.
Zola himself writes:
"The worst of it is, that I have arrived at the conviction that
the jargon of our period, that part of our style which is merely
fashionable and must become antiquated, will be known as one of the
most atrocious jargons of the French language. It is possible to
predict this with almost mathematical certainty. What is most liable
to become antiquated is imagery. As long as it is new, the metaphor
or simile charms. When it has been employed by one or two generations
it becomes a commonplace, a disgrace to the author who employs it.
Look at Voltaire, with his dry style, his vigorous period, destitute
of adjectives, which relates and does not paint; he remains eternally
young. Look at Rousseau, who is our father--look at his imagery,
his passionate rhetoric; he has written pages which are perfectly
intolerable.... A cheerful fate awaits us who have outbidden Rousseau,
us, who on the top of literature pile all the other arts--paint and
sing our periods, chisel them as if they were blocks of marble,
and require of words to reproduce the perfume of things. All this
titillates our nerves: we think it exquisite, perfect. But what will
our great-grandchildren say to it? Their ideas will undoubtedly be
different, and I am convinced that certain of our works will fill them
with astonishment; almost everything in them will be antiquated."
Public-domain text, read in full here on John Shaqi.
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