The maker of a great style, a lyric poet, who selected as an instrument the “other harmony of prose,” a master of characterization and the creator of imperishable volumes, Gustave Flaubert is indeed the Beethoven of French prose. Never was the life of a genius so barren of content, never had there been seemingly such a waste of force. In forty years only four completed books, three tales, and an unfinished volume; a sort of satyricon and lexicon of stupidity—what else is Bouvard et Pécuchet? The outlay of power was just short of the phenomenal, and this Colossus of Croisset,—one falls into superlatives when dealing with him,—this man tormented by an ideal of style, a man who formed a whole generation of writers, is only coming into his kingdom. In his correspondence he is the most facile, the most personal, the least impassable of artists; in his work the most concentrated, objective, and reticent. There never has been in French prose such a densely spun style,—the web fairly glistening with the idea. Yet of opacity there is none. Like one of those marvellous tapestries woven in the hidden East, the clear woof of Flaubert’s motive is never obscured or tangled. George Moore declares L’Education Sentimentale to be as great a work as Tristan und Isolde. It is the polyphony, the magical crossings, recrossings, the interweaving of the subject and the long, elliptical thematic loops made with such consummate ease that command admiration. Flaubert was above all a musician, a musical poet. The ear was his final court of appeal, and to make sonorous cadences in a language that lacks essential richness—it is without the great diapasonic undertow of the Anglo-Saxon—was just short of the miraculous. Until Chateaubriand’s and Victor Hugo’s time the French tongue was rather a formal pattern than a plastic, liquid collocation of sounds. They blazed the path for Flaubert, and he, with almost Spartan restraint and logical mind, made the language richer, more flexible, more musical, polished, and precise. The word and the idea were indissolubly associated, a perfect welding of matter and manner. Omnipresent with him was the musician’s idea of composing a masterpiece that would float by sheer style, a masterpiece unhampered by an idea. The lyric ecstasy of his written speech quite overmastered him. He was a poet as were De Quincey, Pater, and Poe. The modulation of his style to his themes caused him inconceivable agony. A man of equal gifts, and less exacting conscience, would have calmly written at length, letting style go free in his pursuit of theme; but Flaubert strove ceaselessly to overcome the antinomianism of his material. He wrote La Tentation de Saint Antoine, and its pages sing with golden throats; transpose this style to the lower key of L’Education Sentimentale, and we find the artist maddened by the incongruity of surface and subject. In Madame Bovary, with its symphonic descriptions, Flaubert’s style was happily mated; while in the three