Notes on Novelists, with Some Other Notes. Henry Foss James

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СКАЧАТЬ with which the vocabulary of the people, those with which their familiar talk, bristles.” I was struck with the tone in which he made the announcement—without bravado and without apology, as an interesting idea that had come to him and that he was working, really to arrive at character and particular truth, with all his conscience; just as I was struck with the unqualified interest that his plan excited. It was on a plan that he was working—formidably, almost grimly, as his fatigued face showed; and the whole consideration of this interesting element partook of the general seriousness.

      But there comes back to me also as a companion-piece to this another day, after some interval, on which the interest was excited by the fact that the work for love of which the brave license had been taken was actually under the ban of the daily newspaper that had engaged to “serialise” it. Publication had definitively ceased. The thing had run a part of its course, but it had outrun the courage of editors and the curiosity of subscribers—that stout curiosity to which it had evidently in such good faith been addressed. The chorus of contempt for the ways of such people, their pusillanimity, their superficiality, vulgarity, intellectual platitude, was the striking note on this occasion; for the journal impugned had declined to proceed and the serial, broken off, been obliged, if I am not mistaken, to seek the hospitality of other columns, secured indeed with no great difficulty. The composition so qualified for future fame was none other, as I was later to learn, than “L’Assommoir”; and my reminiscence has perhaps no greater point than in connecting itself with a matter always dear to the critical spirit, especially when the latter has not too completely elbowed out the romantic—the matter of the “origins,” the early consciousness, early steps, early tribulations, early obscurity, as so often happens, of productions finally crowned by time.

      Their greatness is for the most part a thing that has originally begun so small; and this impression is particularly strong when we have been in any degree present, so to speak, at the birth. The course of the matter is apt to tend preponderantly in that case to enrich our stores of irony. In the eventual conquest of consideration by an abused book we recognise, in other terms, a drama of romantic interest, a drama often with large comic no less than with fine pathetic interweavings. It may of course be said in this particular connection that “L’Assommoir” had not been one of the literary things that creep humbly into the world. Its “success” may be cited as almost insolently prompt, and the fact remains true if the idea of success be restricted, after the inveterate fashion, to the idea of circulation. What remains truer still, however, is that for the critical spirit circulation mostly matters not the least little bit, and it is of the success with which the history of Gervaise and Coupeau nestles in that capacious bosom, even as the just man sleeps in Abraham’s, that I here speak. But it is a point I may better refer to a moment hence.

      Though a summary study of Zola need not too anxiously concern itself with book after book—always with a partial exception from this remark for “L’Assommoir”—groups and varieties none the less exist in the huge series, aids to discrimination without which no measure of the presiding genius is possible. These divisions range themselves to my sight, roughly speaking, however, as scarce more than three in number—I mean if the ten volumes of the Œuvres Critiques and the Théâtre be left out of account. The critical volumes in especial abound in the characteristic, as they were also a wondrous addition to his sum of achievement during his most strenuous years. But I am forced not to consider them. The two groups constituted after the close of Les Rougon-Macquart—“Les Trois Villes” and the incomplete “Quatre Évangiles”—distribute themselves easily among the three types, or, to speak more exactly, stand together under one of the three. This one, so comprehensive as to be the author’s main exhibition, includes to my sense all his best volumes—to the point in fact of producing an effect of distinct inferiority for those outside of it, which are, luckily for his general credit, the less numerous. It is so inveterately pointed out in any allusion to him that one shrinks, in repeating it, from sounding flat; but as he was admirably equipped from the start for the evocation of number and quantity, so those of his social pictures that most easily surpass the others are those in which appearances, the appearances familiar to him, are at once most magnified and most multiplied.

      To make his characters swarm, and to make the great central thing they swarm about “as large as life,” portentously, heroically big, that was the task he set himself very nearly from the first, that was the secret he triumphantly mastered. Add that the big central thing was always some highly representative institution or industry of the France of his time, some seated Moloch of custom, of commerce, of faith, lending itself to portrayal through its abuses and excesses, its idol-face and great devouring mouth, and we embrace main lines of his attack. In “Le Ventre de Paris” he had dealt with the life of the huge Halles, the general markets and their supply, the personal forces, personal situations, passions, involved in (strangest of all subjects) the alimentation of the monstrous city, the city whose victualling occupies so inordinately much of its consciousness. Paris richly gorged, Paris sublime and indifferent in her assurance (so all unlike poor Oliver’s) of “more,” figures here the theme itself, lies across the scene like some vast ruminant creature breathing in a cloud of parasites. The book was the first of the long series to show the full freedom of the author’s hand, though “La Curée” had already been symptomatic. This freedom, after an interval, broke out on a much bigger scale in “L’Assommoir,” in “Au Bonheur des Dames,” in “Germinal,” in “La Bête Humaine,” in “L’Argent,” in “La Débâcle,” and then again, though more mechanically and with much of the glory gone, in the more or less wasted energy of “Lourdes,” “Rome,” “Paris,” of “Fécondité,” “Travail” and “Vérité.”

      “Au Bonheur des Dames” handles the colossal modern shop, traces the growth of such an organisation as the Bon Marché or the Magasin-du-Louvre, sounds the abysses of its inner life, marshals its population, its hierarchy of clerks, counters, departments, divisions and sub-divisions, plunges into the labyrinth of the mutual relations of its staff, and above all traces its ravage amid the smaller fry of the trade, of all the trades, pictures these latter gasping for breath in an air pumped clean by its mighty lungs. “Germinal” revolves about the coal-mines of Flemish France, with the subterranean world of the pits for its central presence, just as “La Bête Humaine” has for its protagonist a great railway and “L’Argent” presents in terms of human passion—mainly of human baseness—the fury of the Bourse and the monster of Credit. “La Débâcle” takes up with extraordinary breadth the first act of the Franco-Prussian war, the collapse at Sedan, and the titles of the six volumes of The Three Cities and the Four Gospels sufficiently explain them. I may mention, however, for the last lucidity, that among these “Fécondité” manipulates, with an amazing misapprehension of means to ends, of remedies to ills, no less thickly peopled a theme than that of the decline in the French birth-rate, and that “Vérité” presents a fictive equivalent of the Dreyfus case, with a vast and elaborate picture of the battle in France between lay and clerical instruction. I may even further mention, to clear the ground, that with the close of Les Rougon-Macquart the diminution of freshness in the author’s energy, the diminution of intensity and, in short, of quality, becomes such as to render sadly difficult a happy life with some of the later volumes. Happiness of the purest strain never indeed, in old absorptions of Zola, quite sat at the feast; but there was mostly a measure of coercion, a spell without a charm. From these last-named productions of the climax everything strikes me as absent but quantity (“Vérité,” for instance, is, with the possible exception of “Nana,” the longest of the list); though indeed there is something impressive in the way his quantity represents his patience.

      There are efforts here at stout perusal that, frankly, I have been unable to carry through, and I should verily like, in connection with the vanity of these, to dispose on the spot of the sufficiently strange phenomenon constituted by what I have called the climax. It embodies in fact an immense anomaly; it casts back over Zola’s prime and his middle years the queerest grey light of eclipse. Nothing moreover—nothing “literary”—was ever so odd as in this matter the whole turn of the case, the consummation so logical yet so unexpected. Writers have grown old and withered and failed; they have grown weak and sad; they have СКАЧАТЬ