George Saintsbury

“ That if Balzac had lived as long as Hugo, and had preserved his faculties as well, he could never have finished the Comédie, is of course obvious: the life of Methuselah, with the powers of Shakespeare, would not suffice for that. But that he never would—even if by some impossibility he could—is almost equally certain. Whether there is any mark of decline in his latest work has been disputed, but there could hardly have been farther advance, and the character of the whole, not easy to define, is much less hard to comprehend, if prejudice be kept out of the way. ”

“ But there are the most delightful short tales, both in prose and in verse, that the world has ever seen, the most polished jewelry of reflection that has ever been wrought, songs of incomparable grace, comedies that must make men laugh as long as they are laughing animals, and above all such a body of narrative fiction, old and new, prose and verse, as no other nation can show for art and for originality, for grace of workmanship in him who fashions, and for certainty of delight to him who reads. ”

“ No French writer is lifted by the suffrages of other nations—the only criterion when sufficient time has elapsed—to the level of Homer, of Shakespeare, or of Dante, who reign alone. Of those of the authors of France who are indeed of the thirty but attain not to the first three Rabelais and Molière alone unite the general suffrage, and this fact roughly but surely points to the real excellence of the literature which these men are chosen to represent. It is great in all ways, but it is greatest on the lighter side. ”

“ The language has been put to all the uses of which it is as yet capable; those uses in their sameness begin to pall upon reader and hearer; and the enormous evils of the civil and religious state reflect themselves inevitably in literature. The old forms die out or are prolonged only in half-lifeless travesties. The brilliant colouring of Froissart, and the graceful science of ballade and rondeau writers like Lescurel and Deschamps, alone maintain the literary reputation of the time. ”

“ But he deserved in some of the bad as well as many of the good senses of the term the name of a man of the Renaissance. He had the warm partisanship and amiability towards friends and the scorpion-like sting for his foes, he had the ardent delight in learning and especially in matters of art and belles lettres, he had the scepticism, the voluptuousness, the curious delight in the contemplation of the horrible, which marked the men of letters of the humanist period. Even his literary work has this Renaissance character. ”

“ Almost all writers of literary letters since Madame de Sévigné’s days, or rather since the publication of her correspondence, have imitated her more or less directly, more or less consciously, and it is therefore only by applying that historic estimate upon which all true criticism rests that her full value can be discerned. The charm of her work is, however, so irresistible that, read even without any historical knowledge and in the comparatively adulterated editions in which it is generally met with, that charm can hardly be missed. ”

“ There was an infinity of tragic writers and tragic plays in this century, but hardly any others of them even deserve mention. The muse of comedy was decidedly more happy in her devotees. Molière was a far safer if a more difficult model than Racine, and the inexorable fashion which had bound down tragedy to a feeble imitation of Euripides did not similarly prescribe an undeviating adherence to Terence. Tragedy had never been, has scarcely been since, anything but an exotic in France; comedy was of the soil and native. ”

“ Rabelais is, in short, if he be read without prejudice, a humorist pure and simple, feeling often in earnest, thinking almost always in jest. He is distinguished from the two men who alone can be compared with him in character of work and force of genius combined—Lucian and Swift—by very marked characteristics. He is much less of a mere mocker than Lucian, and he is entirely destitute, even when he deals with monks or pedants, of the ferocity of Swift. He neither sneers nor rages; the fire immense which distinguishes him is altogether good-natured ”

“ The chronicle of Villehardouin is justly held to be the very best presentation we possess of the spirit of chivalry—not the designedly exalted and poetized chivalry of the romances, not the self-conscious and deliberate chivalry of the 14th century, but the unsophisticated mode of thinking and acting which brought about the crusades, stimulated the vast iterary development of the 12th and 13th centuries, and sent knights-errant, principally though not wholly of French blood, to establish principalities and kingdoms throughout Europe and the nearer East. ”

“ Perhaps more than any other poet, he set the example of the classical alexandrine, the smooth and melodious but monotonous and rather effeminate measure which Racine was to bring to the highest perfection, and which his successors, while they could not improve its smoothness, were to make more and more monotonous until the genius of Victor Hugo once more broke up its facile polish, supplied its stiff uniformity, and introduced vigour, variety, colour and distinctness in the place of its feeble sameness and its pale indecision. ”

“ He invented, as has been said, no new genre; he did not, as Marivaux and Prévost did, help on the novel as distinguished from the romance. In form his books are undistinguishable, not merely from the Spanish romances which are, as has been said, their direct originals, but from the medieval romans d’aventures and the Greek prose romances. But in individual excellence they have few rivals. Nor should it be forgotten, as it sometimes is, that Le Sage was a great master of French style, the greatest unquestionably between the classics of the 17th century and the classics of the 18th. ”

“ There is, in the first place, in making the careful investigations into the character and circumstances of each writer which it demands, a danger of paying too much attention to the man and too little to his work, and of substituting for a critical study a mere collection of personal anecdotes and traits, especially if the author dealt with belongs to a foreign country or a past age. The other danger is that of connecting the genius and character of particular authors too much with their conditions and circumstances, so as to regard them as merely so many products of the age. ”

“ As a politician he acted with the extreme radicals, yet universal suffrage disgusted him as unreasonable in its principle and dangerous in its results. His pervading characteristic, therefore, is that of an eloquent vagueness, very stimulating and touching at times, but as deficient in coercive force of matter as it is in lasting precision and elegance of form. He is less inaccurate in fact than Michelet, but he is also much less absorbed by a single idea at a time, and the result is that he seldom attains to the vivid representation of which Michelet was a master. ”

“ The series of prose writers from Calvin to Montaigne, of poets from Marot to Regnier, elaborated a language yielding to no modern tongue in beauty, richness, flexibility and strength, a language which the reactionary purism of succeeding generations defaced rather than improved, and the merits of which have in still later days been triumphantly vindicated by the confession and the practice of all the greatest writers of modern France. ”

“ Of the famous French history books of the middle ages Joinville’s bears the most vivid impress of the personal characteristics of its composer. It does not, like Villehardouin, give us a picture of the temper and habits of a whole order or cast of men during a heroic period of human history; it falls far short of Froissart in vivid portraying of the picturesque and external aspects of social life; but it is a more personal book than either. The age and circumstances of the writer must not be forgotten in reading it. He is a very old man telling of circumstances which occurred in his youth. ”

“ These great writers are not merely remarkable for the vigour and originality of their thoughts, the freshness, variety and grace of their fancy, the abundance of their learning and the solidity of their arguments in the cases where argument is required. Their great merit is the creation of a language and a style able to give expression to these good gifts. The foregoing account of the medieval literature of France will have shown sufficiently that it is not lawful to despise the literary capacities and achievements of the older French. ”

“ When quite a boy he devoted himself to the study of 16th-century masters, and though he acknowledged the supremacy of Hugo, his own talent was of an individual order, and developed itself more or less independently. Albertus alone of his poems has much of the extravagant and grotesque character which distinguished early romantic literature. The Comédie de la mort, the Poésies diverses, and still more the Émaux et camées, display a distinctly classical tendency—classical, that is to say, not in the party and perverted sense, but in its true acceptation. ”

“ But the attempt to reimpose these qualities as absolutely distinguishing marks and labels on particular works is almost certain to lead to mistake and disaster, and there is more than mere irony in the person who defines romance as “Something which was written between an unknown period of the Dark Ages and the Renaissance, and which has been imitated since the later part of the 18th century.” What that something really is is not well to be known except by reading more or less considerable sections of it—by exploring it like one of its own forbidden countries. ”

“ In these directions practitioners of the highest skill apply it during the 17th century, while during the 18th its powers are shown to the utmost of their variety by Voltaire, and receive a new development at the hands of Rousseau. Yet, on the whole, it loses during this century. It becomes more and more unfit for any but trivial uses, and at last it is employed for those uses only. Then occurs the Revolution, repeating the mighty stir in men’s minds which the Renaissance had given, but at first experiencing more difficulty in breaking up the ground and once more rendering it fertile. ”

“ On the other hand, for the last hundred years and more, there have been some who have seen in romance almost the highest and certainly the most charming form of fictitious creation, the link between poetry and religion, the literary embodiment of men's dreams and desires, the appointed nepenthe of more sophisticated ages as it was the appointed pastime of the less sophisticated. ”

“ He keeps the allegorical form, and indeed introduces two new personages of importance, Nature and Faux-semblant. In the mouths of these personages and of another, Raison, he puts the most extraordinary mixture of erudition and satire. At one time we have the history of classical heroes, at another theories against the hoarding of money, about astronomy, about the duty of mankind to increase and multiply. Accounts of the origin of loyalty, which would have cost the poet his head at some periods of history, and even communistic ideas, are also to be found here. ”

“ Authors and even books, rather than groups and kinds, demand principal attention.
The result of this revolution is naturally most remarkable in the belles-lettres and the kindred department of history. Poetry, not dramatic, has been revived; prose romance and literary criticism have been brought to a perfection previously unknown; and history has produced works more various, if not more remarkable, than at any previous stage of the language. ”

“ Nor is this unjust, for though the most prominent of them all, Jacques Bénigne Bossuet (1627–1704) was remarkable as a writer of matter intended to be read, not merely as a speaker of matter intended to be heard, this double character is not possessed by most of the orthodox theologians of the time; and even Bossuet, great as is his genius, is more of a rhetorician than of a philosopher or a theologian. In no quarter was the advance of culture more remarkable in France than in the pulpit. ”

“ The century which witnessed the invention of printing naturally devoted itself at first more to the spreading of old literature than to the production of new. Yet as it perfected the early drama, so it produced the prose tale. Nor, as regards individual and single names, can the century of Charles d’Orléans, of Alain Chartier, of Christine de Pisan, of Coquillart, of Comines, and, above all, of Villon, be said to lack illustrations. ”

“ With the exception of chronicles and prose romances, no prose works of any real importance can be quoted before the end of the 15th century, and even then the chief if not the only place of importance must be assigned to the Cent Nouvelles Nouvelles, a work of admirable prose, but necessarily light in character, and not yet demonstrating the efficacy of the French language as a medium of expression for serious and weighty thought. ”

“ At the same time it must be remembered that from this devotion of men of the best talents to critical work has arisen an immense elevation of the standard of such work. Before the romantic movement in France Diderot in that country, Lessing and some of his successors in Germany, Hazlitt, Coleridge and Lamb in England, had been admirable critics and reviewers. But the theory of criticism, though these men’s principles and practice had set it aside, still remained more or less what it had been for centuries. ”

“ Taste, affectation or antiquarian diligence have, at one time or another, restored to a just, and sometimes a more than just, measure of reputation most of the literary relics of the past. Romances of chivalry, fabliaux, early drama, Provençal poetry, prose chronicles, have all had, and deservedly, their rehabilitators. But Polexandre and Cléopâtre, Clélie and the Grand Cyrus, have been too heavy for all the industry and energy of literary antiquarians. ”

“ What really distinguishes Villon is the intenser quality of his poetical feeling and expression, and what is perhaps arrogantly called the modern character of his subjects and thought. Medieval poetry, with rare exceptions, and, with exceptions not quite so rare, classical poetry, are distinguished by their lack of what is now called the personal note. In Villon this note sounds, struck with singular force and skill. Again, the simple joy of living which distinguishes both periods—the medieval, despite a common opinion, scarcely less than the ancient—has disappeared. ”

“ The individual poet of to-day may and does produce work that is in itself of greater literary value than that of the individual trouvère. As a matter of literary history his contribution is less remarkable because of the examples he has before him and the circumstances which he has around him. Yet we have endeavoured to draw such a sketch of French literature from the Chanson de Roland onwards that no important development and hardly any important partaker in such development should be left out. ”

“ Balzac and his successors make of French prose an instrument faultless and admirable in precision, unequalled for the work for which it is fit, but unfit for certain portions of the work which it was once able to perform. Malherbe, seconded by Boileau, makes of French verse an instrument suited only for the purposes of the drama of Euripides, or rather of Seneca, with or without its chorus, and for a certain weakened echo of those choruses, under the name of lyrics. No French verse of the first merit other than dramatic is written for two whole centuries. ”

“ In France as in other countries the disturbance in religious thought may undoubtedly claim the glory of having repaired this disgrace of the vulgar tongue, and of having fitted and taught it to express whatever thoughts the theologian, the historian, the philosopher, the politician and the savant had occasion to utter. But the use of prose as a vehicle for lighter themes was more continuous with the literature that preceded, and serves as a natural transition from poetry and the drama to history and science. ”