De Gourmont is supremely the critic, the man who digests, interprets,
reorganizes the thoughts of other men and in the process adds to those
thoughts. His favorite method of reorganization is disorganization,
"dissociation" (and by the way, that word is good in English, as in
French, and better than Mr. Bradley's "disassociation"). He pulls
ideas to pieces and skilfully puts them together again. He is an
analyst, a dissector. But the flowers of the garden are not all
plucked to shreds and scattered on the paths, nor are they all taken
to the laboratory and subjected to the microscope. De Gourmont is
interested in things living and in propagating life. "_Toutes nos
fleurs sont fraiches, jeunes et pleines d'amour._" He surveys
wildernesses and lays out gardens. No other man was ever blessed with
such a combination of the safe, sane, intellectually comfortable and
the restless, daring, venturesome.
He loves paradoxes because life is full of contradictions, and his
paradoxes are often elucidations and conciliations of conflicting
ideas, never the cheap and facile paradoxes of a Chesterton. Is
Mallarme obscure? There is never absolute, literal obscurity in an
honestly written work. Besides, there are too few obscure writers in
French. This from a Frenchman whose own writing is a marvel of clarity
even when he is handling subtle and difficult ideas! Moreover, de
Gourmont's essays on language and style are studies in precision, in
definition.
De Gourmont is a wise man, who, like Socrates and William James, is
not afraid to joke, and some of his perversities are uttered with his
ironic tongue in his cheek. Like all fine humorists he is profoundly
serious, and the delicate play of his fingers is backed by terrific
muscular scholarship. His method is to appear to be casual, to make
the review of a book "_une occasion de parler un peu_" and then
to pack into six pages the reading of a lifetime. He manipulates
Brunetiere into the corner and annihilates him before you have time to
realize that there is no button on the rapier.
Public-domain text, read in full here on John Shaqi.
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