The George Sand-Gustave Flaubert Letters. Gustave Flaubert
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22 November, 1866
I think that it will bring me luck to say good evening to my dear comrade before starting to work.
I am QUITE ALONE in my little house. The gardener and his family live in the pavilion in the garden and we are the last house at the end of the village, quite isolated in the country, which is a ravishing oasis. Fields, woods, appletrees as in Normandy; not a great river with its steam whistles and infernal chain; a little stream which runs silently under the willows; a silence … ah! it seems to me that I am in the depths of the virgin forest: nothing speaks except the little jet of the spring which ceaselessly piles up diamonds in the moonlight. The flies sleeping in the corners of my room, awaken at the warmth of my fire. They had installed themselves there to die, they come near the lamp, they are seized with a mad gaiety, they buzz, they jump, they laugh, they even have faint inclinations towards love, but it is the hour of death and paf! in the midst of the dance, they fall stiff. It is over, farewell to dancing!
I am sad here just the same. This absolute solitude, which has always been vacation and recreation for me, is shared now by a dead soul [Footnote: Alexandre Manceau, the engraver, a friend of Maurice Sand.] who has ended here, like a lamp which is going out, yet which is here still. I do not consider him unhappy in the region where he is dwelling; but the image that he has left near me, which is nothing more than a reflection, seems to complain because of being unable to speak to me any more.
Never mind! Sadness is not unhealthy. It prevents us from drying up. And you dear friend, what are you doing at this hour? Grubbing also, alone also; for your mother must be in Rouen. Tonight must be beautiful down there too. Do you sometimes think of the "old troubadour of the Inn clock, who still sings and will continue to sing perfect love?" Well! yes, to be sure! You do not believe in chastity, sir, that's your affair. But as for me, I say that SHE HAS SOME GOOD POINTS, THE JADE!
And with this, I embrace you with all my heart, and I am going to, if I can, make people talk who love each other in the old way.
You don't have to write to me when you don't feel like it. No real friendship without ABSOLUTE liberty.
In Paris next week, and then again to Palaiseau, and after that to Nohant. I saw Bouilhet at the Monday performance. I am CRAZY about it. But some of us will applaud at Magny's. I had a cold sweat there, I who am so steady, and I saw everything quite blue.
XXXII. TO GEORGE SAND
Croisset, Tuesday
You are alone and sad down there, I am the same here.
Whence come these attacks of melancholy that overwhelm one at times? They rise like a tide, one feels drowned, one has to flee. I lie prostrate. I do nothing and the tide passes.
My novel is going very badly for the moment. That fact added to the deaths of which I have heard; of Cormenin (a friend of twenty-five years' standing), of Gavarni, and then all the rest, but that will pass. You don't know what it is to stay a whole day with your head in your hands trying to squeeze your unfortunate brain so as to find a word. Ideas come very easily with you, incessantly, like a stream. With me it is a tiny thread of water. Hard labor at art is necessary for me before obtaining a waterfall. Ah! I certainly know THE AGONIES OF STYLE.
In short I pass my life in wearing away my heart and brain, that is the real TRUTH about your friend.
You ask him if he sometimes thinks of his "old troubadour of the clock," most certainly! and he mourns for him. Our nocturnal talks were very precious (there were moments when I restrained myself in order not to KISS you like a big child).
Your ears ought to have burned last night. I dined at my brother's with all his family. There was hardly any conversation except about you, and every one sang your praises, unless perhaps myself, I slandered you as much as possible, dearly beloved master.
I have reread, a propos of your last letter (and by a very natural connection of ideas), that chapter of father Montaigne's entitled "some lines from Virgil." What he said of chastity is precisely what I believe. It is the effort that is fine and not the abstinence in itself. Otherwise shouldn't one curse the flesh like the Catholics? God knows whither that would lead. Now at the risk of repetition and of being a Prudhomme, I insist that your young man is wrong. [Footnote: Refers to Francis Laur.] If he is temperate at twenty years old, he will be a cowardly roue at fifty. Everything has its compensations. The great natures which are good, are above everything generous and don't begrudge the giving of themselves. One must laugh and weep, love, work, enjoy and suffer, in short vibrate as much as possible in all his being.
That is, I think, the real human existence.
XXXIII. TO GUSTAVE FLAUBERT, at Croisset
Palaiseau, 29 November, 1866
One need not be spiritualist nor materialist, you say, but one should be a naturalist. That is a great question.
My Cascaret, that is what I call the little engineer, will decide it as he thinks best. He is not stupid and he will have many ideas, deductions and emotions before realizing the prophecy that you make. I do not catechise him without reserve, for he is stronger than I am on many points, and it is not Catholic spiritualism that stifles him. But the question by itself is very serious, and hovers above our art, above us troubadours, more or less clock-bearing or clockshaped.
Treat it in an entirely impersonal way; for what is good for one might be quite the reverse for another. Let us ask ourselves in making an abstract of our tendencies or of our experiences, if the human being can receive and seek its own full physical development without intellectual suffering. Yes, in an ideal and rational society that would be so. But, in that in which we live and with which we must be content, do not enjoyment and excess go hand in hand, and can one separate them or limit them, unless one is a sage of the first class? And if one is a sage, farewell temptation which is the father of real joys.
The question for us artists, is to know if abstinence strengthens us or if it exalts us too much, which state would degenerate into weakness, – You will say, "There is time for everything and power enough for every dissipation of strength." Then you make a distinction and you place limits, there is no way of doing otherwise. Nature, you think, places them herself and prevents us from abusing her. Ah! but no, she is not wiser than we who are also nature.
Our excesses of work, as our excesses of pleasure, kill us certainly, and the more we are great natures, the more we pass beyond bounds and extend the limits of our powers.
No, I have no theories. I spend my life in asking questions and in hearing them answered in one way or another without any victoriously conclusive reply ever being given me. I await the brilliance of a new state of my intellect and of my organs in a new life; for, in this one, whosoever reflects, embraces up to their last consequences, the limits of pro and con. It is Monsieur Plato, I think, who asked for and thought he held the bond. He had it no more than we. However, this bond exists, since the universe subsists without the pro and con, which constitute it, reciprocally destroying each other. What shall one call it in material nature? EQUILIBRIUM, that will do, and for spiritual nature? MODERATION, relative chastity, abstinence from excess, whatever you want, but that is translated by EQUILIBRIUM; am I wrong, my master?
Consider it, for in our novels, what our characters do or do not do, rests only on that. Will they or will they not possess the object of their ardent desires? Whether it is love or glory, fortune or pleasure, ever since they existed, they have aspired to one end. If we have a philosophy in us, they walk right according to us; if we have not, they walk by chance, and are too much dominated by the events which we put in the way of their legs. Imbued by our own ideas and ruled by fatality, they do not always appear logical. Should we put much or little of ourselves in them? Shouldn't we put what society puts in each one of us?
For my part, I follow my old inclination, I put myself in the skin of my good people. People scold me for it, that makes no difference. You, I don't really know if by method or by instinct, take another course. What you do, you succeed in; that is why I ask you if we differ on the question of internal struggles, if the hero ought to have any or if he ought not to know them.
You always astonish me with your painstaking work; is it a coquetry? It does not seem labored. What I find difficult is to choose out of the thousand combinations