THE LETTERS OF A GREAT WOMAN
Of the many collections of letters that have appeared in this century few, if any, can rival for fascination of style and variety of incident the letters of George Sand which have recently been translated into English by M. Ledos de Beaufort. They extend over a space of more than sixty years, from 1812 to 1876, in fact, and comprise the first letters of Aurore Dupin, a child of eight years old, as well as the last letters of George Sand, a woman of seventy-two. The very early letters, those of the child and of the young married woman, possess, of course, merely a psychological interest; but from 1831, the date of Madame Dudevant’s separation from her husband and her first entry into Paris life, the interest becomes universal, and the literary and political history of France is mirrored in every page.
For George Sand was an indefatigable correspondent; she longs in one of her letters, it is true, for ‘a planet where reading and writing are absolutely unknown,’ but still she had a real pleasure in letter-writing. Her greatest delight was the communication of ideas, and she is always in the heart of the battle. She discusses pauperism with Louis Napoleon in his prison at Ham, and liberty with Armand Barbes in his dungeon at Vincennes; she writes to Lamennais on philosophy, to Mazzini on socialism, to Lamartine on democracy, and to Ledru-Rollin on justice. Her letters reveal to us not merely the life of a great novelist but the soul of a great woman, of a woman who was one with all the noblest movements of her day and whose sympathy with humanity was boundless absolutely. For the aristocracy of intellect she had always the deepest veneration, but the democracy of suffering touched her more. She preached the regeneration of mankind, not with the noisy ardour of the paid advocate, but with the enthusiasm of the true evangelist. Of all the artists of this century she was the most altruistic; she felt every one’s misfortunes except her own. Her faith never left her; to the end of her life, as she tells us, she was able to believe without illusions. But the people disappointed her a little. She saw that they followed persons not principles, and for ‘the great man theory’ George Sand had no respect. ‘Proper names are the enemies of principles’ is one of her aphorisms.
So from 1850 her letters are more distinctly literary. She discusses modern realism with Flaubert, and play-writing with Dumas fils; and protests with passionate vehemence against the doctrine of L’art pour l’art. ‘Art for the sake of itself is an idle sentence,’ she writes; ‘art for the sake of truth, for the sake of what is beautiful and good, that is the creed I seek.’ And in a delightful letter to M. Charles Poncy she repeats the same idea very charmingly. ‘People say that birds sing for the sake of singing, but I doubt it. They sing their loves and happiness, and in that they are in keeping with nature. But man must do something more, and poets only sing in order to move people and to make them think.’ She wanted M. Poncy to be the poet of the people and, if good advice were all that had been needed, he would certainly have been the Burns of the workshop. She drew out a delightful scheme for a volume to be called Songs of all Trades and saw the possibilities of making handicrafts poetic. Perhaps she valued good intentions in art a little too much, and she hardly understood that art for art’s sake is not meant to express the final cause of art but is merely a formula of creation; but, as she herself had scaled Parnassus, we must not quarrel at her bringing Proletarianism with her. For George Sand must be ranked among our poetic geniuses. She regarded the novel as still within the domain of poetry. Her heroes are not dead photographs; they are great possibilities. Modern novels are dissections; hers are dreams. ‘I make popular types,’ she writes, ‘such as I do no longer see, but such as they should and might be.’ For realism, in M. Zola’s acceptation of the word, she had no admiration. Art to her was a mirror that transfigured truths but did not represent realities. Hence she could not understand art without personality. ‘I am aware,’ she writes to Flaubert, ‘that you are opposed to the exposition of personal doctrine in literature. Are you right? Does not your opposition proceed rather from a want of conviction than from a principle of æsthetics? If we have any philosophy in our brain it must needs break forth in our writings. But you, as soon as you handle literature, you seem anxious, I know not why, to be another man, the one who must disappear, who annihilates himself and is no more. What a singular mania! What a deficient taste! The worth of our productions depends entirely on our own. Besides, if we withhold our own opinions respecting the personages we create, we naturally leave the reader in uncertainty as to the opinion he should himself form of them. That amounts to wishing not to be understood, and the result of this is that the reader gets weary of us and leaves us.’
She herself, however, may be said to have suffered from too dominant a personality, and this was the reason of the failure of most of her plays.
Of the drama in the sense of disinterested presentation she had no idea, and what is the strength and life-blood of her novels is the weakness of her dramatic works. But in the main she was right. Art without personality is impossible. And yet the aim of art is not to reveal personality, but to please. This she hardly recognized in her æsthetics, though she realized it in her work. On literary style she has some excellent remarks. She dislikes the extravagances of the romantic school and sees the beauty of simplicity. ‘Simplicity,’ she writes, ‘is the most difficult thing to secure in this world: it is the last limit of experience and the last effort of genius.’ She hated the slang and argot of Paris life, and loved the words used by the peasants in the provinces. ‘The provinces,’ she remarks, ‘preserve the tradition of the original tongue and create but few new words. I feel much respect for the language of the peasantry; in my estimation it is the more correct.’
She thought Flaubert too much preoccupied with the sense of form, and makes these excellent observations to him – perhaps her best piece of literary criticism. ‘You consider the form as the aim, whereas it is but the effect. Happy expressions are only the outcome of emotion and emotion itself proceeds from a conviction. We are only moved by that which we ardently believe in.’ Literary schools she distrusted. Individualism was to her the keystone of art as well as of life. ‘Do not belong to any school: do not imitate any model,’ is her advice. Yet she never encouraged eccentricity. ‘Be correct,’ she writes to Eugène Pelletan, ‘that is rarer than being eccentric, as the time goes. It is much more common to please by bad taste than to receive the cross of honour.’
On the whole, her literary advice is sound and healthy. She never shrieks and she never sneers. She is the incarnation of good sense. And the whole collection of her letters is a perfect treasure-house of suggestions both on art and on politics.
Letters of George Sand. Translated and edited by Raphael Ledos de Beaufort. (Ward and Downey.)
BÉRANGER IN ENGLAND
A philosophic politician once remarked that the best possible form of government is an absolute monarchy tempered by street ballads.
Without at all agreeing with this aphorism we still cannot but regret that the new democracy does not use poetry as a means for the expression of political opinion. The Socialists, it is true, have been heard singing the later poems of Mr. William Morris, but the street ballad is really dead in England. The fact is that most modern poetry is so artificial in its form, so individual in its essence and so literary in its style, that the people as a body are little moved by it, and when they have grievances against the capitalist or the aristocrat they prefer strikes to sonnets and rioting to rondels.
Possibly, Mr. William Toynbee’s pleasant little volume of translations from Béranger may be the herald of a new school. Béranger had all the qualifications for a popular poet. He wrote to be sung more than to be read; he preferred the Pont Neuf to Parnassus; he was patriotic as well as romantic, and humorous as well as humane. Translations of poetry as a rule are merely misrepresentations, but the muse of Béranger is so simple and naïve that she can wear our English dress with ease and grace, and Mr. Toynbee has kept much of the mirth and music of the original. Here and there, undoubtedly, the translation could be improved upon; ‘rapiers’ for instance is an abominable rhyme to ‘forefathers’; ‘the hated arms of Albion’