Renée Mauperin. Edmond de Goncourt
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simply complementary. The chief vehicle of authentic truth is the autograph letter, and, though they professed to hold the historical novel in abhorrence, they applied their historical methods to their records of contemporary life. Thus we inevitably arrive at the famous theory of the document humain—a phrase received with much derision when first publicly used in the preface to La Faustin, and a theory conscientiously adopted by many later novelists. And here, again, it is important to realize the restricted extent of the authors' claim.
The Goncourts draw a broad, primary distinction between ancient and modern literature: the first deals mainly with generalities, the second with details. They then proceed to establish an analogous distinction between novels written before and after Balzac's time, the modern novel being based on des documents racontés, ou relevés d'après nature, precisely as formal history is based on des documents écrits. But they make no pretence of having initiated the revolution; their share was limited to continuing Balzac's tradition, to enlarging the field of observation, and especially to multiplying the instruments of research. They declared that Gautier had, so to say, endowed literature with vision; that Fromentin, in describing the silence of the desert, had revealed the literary value of hearing; that with Zola, Loti—and they might surely have added Maupassant—a fresh sense was brought into play: c'est le nez qui entre en scène. Their personal contribution was their nervous sensibility: les premiers nous avons été les écrivains des nerfs. And they were prouder of this morbid quality than of their talent. They were ever on the watch for fragments of talk caught up in drawing-rooms, in restaurants, on omnibuses: ever ready to take notes at death-beds, church, or taverns. Their life was one long pursuit of l'imprévu, le décousu, l'illogique du vrai. These observations they transcribed at night while the impression was still acute, and these they utilized more or less deftly as they advanced towards what they rightly thought to be the goal of art: the perfect adjustment of proportion between the real and the imagined.
It would seem that we are now in a position to judge the Goncourts by their own standard. Le dosage juste de la littérature et de la vie—this formula recurs in one shape or another as a leading principle, and it is supplemented by other still more emphatic indications which should serve to supply a test. Unhappily, with the Goncourts these indications are unsystematic and even contradictory. The elder brother has naturally no hesitation in saying that the highest gift of any writer is his power of creating on paper real beings—comme des êtres créés par Dieu, et comme ayant eu une vraie vie sur la terre—and he is bold enough to add that Shakespeare himself has failed to create more than two or three personages. He protests energetically against the academic virtues, and insists on the importance of forming a personal style which shall reproduce the vivacity, brio, and feverish activity of the best talk. It is, then, all the more disconcerting to learn from another passage in the Journal that the creation of characters and the discovery of an original form of expression are matters of secondary moment. The truth is that if the Goncourts had, as they believed, something new to say, it was inevitable that they should seek to invent a new manner of utterance. Renan was doubtless right in thinking that they were absolutely without ideas on abstract subjects; but they were exquisitely susceptible to every shade and tone of concrete objects, and the endeavour to convey their innumerable impressions taxed the resources of that French vocabulary on whose relative poverty they so often insist. The reproaches brought against them in the matter of verbal audacities by every prominent critic, from Sainte-Beuve in one camp to Pontmartin in the other, are so many testimonies to the fact that they were innovators—apporteurs du neuf—and that their intrepidity cost them dear. Still their boldness in this respect has been generally exaggerated. Setting out as imitators of two such different models as Gautier and Jules Janin, they slowly acquired an individual manner—the manner, say, of Germinie Lacerteux or Manette Salomon—but they never attained the formula which they had conceived as final. It was not given to them to realize their ambition—to write novels which should not contain a single bookish expression, plays which should reveal that hitherto undiscoverable quantity—colloquial speech, raised to the level of consummate art. The famous écriture artiste remained an unfulfilled ideal. The expression, first used in the preface to Les Frères Zemganno, merely foreshadows a possible development of style which shall come into being when realism or naturalism, ceasing to describe the ignoble, shall occupy itself with the attempt to render refinements, reticences, subtleties, and half-tones of a more elusive order. It is an aspiration, a counsel of perfection offered to a younger school by an artist in experiment, who declares the quest to be beyond his powers. It is nothing more.
Leaving on one side these questions of style and manner, it may safely be said that in the novels of the Goncourts the characters are less memorable, less interesting as individuals than as illustrations of an epoch or types of a given social sphere. Charles Demailly, Madame Gervaisais, Manette Salomon, Renée Mauperin, Sœur Philomène, are not so much dramatic creations as figures around which is constituted the life of a special milieu—the world of journalism, of Catholicism seen from two opposite points of view, of artists, of the bourgeoisie, as the case may be. There are in the best work of the Goncourts astonishingly brilliant scenes; there is dialogue vivacious, witty, sparkling, to an extraordinary degree. And this dialogue, as in Charles Demailly, is not only supremely interesting, but intrinsically true to nature. It could not well be otherwise, for the speeches assigned to Masson, Lampérière, Remontville, Boisroger, and Montbaillard are, as often as not, verbatim reports of paradoxes and epigrams thrown off a few hours earlier by Théophile Gautier, Flaubert, Saint-Victor, Banville, and Villemessant. But these flights, true and well worth preserving as they are, fail to impress for the simple reason that they are mere exercises in bravura delivered by men much less concerned with life than with phrases, that they are allotted to subordinate characters, and that they rather serve to diminish than to increase the interest in the central figures. The Goncourts themselves are much less absorbed in life than in writing about it: just as landscapes reminded them of pictures, so did every other manifestation of existence present itself as a possible subject for artistic treatment. They had been called the detectives of history; they became detectives, inquisitors in real life, and, much as they loathed the occupation, they never rested from their task of spying and prying and "documentation." As with Charles Demailly, so with their other books: each character is studied after nature with a grim, revolting persistence. Their aunt, Mlle. de Courmont, is the model of Mlle. de Varandeuil in Germinie Lacerteux; Germinie herself is drawn from their old servant Rose, who had loved them, cheated them, blinded them for half a lifetime; the Victor Chevassier who figures in Quelques créatures de ce temps is sketched from their father's old political ally, Colardez, at Breuvannes; the original of the Abbé Blampoix in Renée Mauperin was the Abbé Caron; the painter Beaulieu and that strange Bohemian Pouthier are both worked into Manette Salomon. And the novel entitled Madame Gervaisais is an almost exact transcription or record of the life of the authors' aunt, Mme. Nephthalie de Courmont: a report so literal that in three hundred pages there are but two trifling departures from the strictest historical truth.
Mommsen himself has not excelled the Goncourts in conscientious "documentation"; and yet, for all their care, their personages do not abide in the memory as living beings. We do not see them as individuals, but as types; and, strangely enough, the authors, despite the remarkable skill with which they materialize many of their impressions, are content to deliver their characters to us as so many illustrations of a species. Thus Marthe Mance in Charles Demailly is un type, l'incarnation d'un âge, de son sexe et d'un rôle de son temps; Langibout is le type pur de l'ancienne école; Madame Gervaisais, too, is un exemple et un type of the intellectual bourgeoise of Louis-Philippe's time; Madame Mauperin is le type of the modern bourgeoise mother; Renée is the type of the modern bourgeoise girl; the Bourjots "represent" wealth; Denoisel is a Parisian—ou plutôt c'était le Parisien. The Goncourts, in their endeavour to be more precise, resort to odd combinations of conflicting elements. Within some twenty pages Renée Mauperin is une mélancolique tintamarresque; the adjectives bourgeoise and diabolique are used to characterize the same thing; the Abbé Blampoix is at once "priest and lawyer, apostle and diplomatist, Fénelon and M. de Foy." And the same types constantly reappear. The physician Monterone in Madame Gervaisais is simply an Italian version of Denoisel