James Huneker
Egoists, A Book of Supermen
Stendhal, Baudelaire, Flaubert, Anatole France, Huysmans, Barrès, Nietzsche, Blake, Ibsen, Stirner, and Ernest Hello
Published by Good Press, 2019
EAN 4057664634924
Table of Contents
I
A SENTIMENTAL EDUCATION
HENRY BEYLE-STENDHAL
I
The fanciful notion that psychical delicacy is accompanied by a corresponding physical exterior should have received a death-blow in the presence of Henry Beyle, better known as Stendhal. Chopin, Shelley, Byron and Cardinal Newman did not in personal appearance contradict their verse, prose and music; but Stendhal, possessing an exquisite sensibility, was, as Hector Berlioz cruelly wrote in his Memoirs: "A little pot-bellied man with a spiteful smile, who tried to look grave." Sainte-Beuve is more explicit. "Physically his figure, though not short, soon grew thick-set and heavy, his neck short and full-blooded. His fleshy face was framed in dark curly hair and whiskers, which before his death were assisted by art. His forehead was fine: the nose turned up, and somewhat Calmuck in shape. His lower lip, which projected a little, betrayed his tendency to scoff. His eyes were rather small but very bright, deeply set in their cavities, and pleasing when he smiled. His hands, of which he was proud, were small and daintily shaped. In the last years of his life he grew heavy and apoplectic. But he always took great pains to conceal the symptoms of physical decay even from his own friends."
Henri Monnier, who caricatured him, apparently in a gross manner, denied that he had departed far from his model. Some one said that Stendhal looked like an apothecary—Homais, presumably, or M. Prudhomme. His maternal grandfather, Doctor Gagnon, assured him when a youth that he was ugly, but he consolingly added that no one would reproach him for his ugliness. The piercing and brilliant eye that like a mountain lake could be both still and stormy, his eloquent and ironical mouth, pugnacious bearing, Celtic profile, big shoulders, and well-modelled leg made an ensemble, if not alluring, at least striking. No man with a face capable of a hundred shades of expression can be ugly. Furthermore, Stendhal was a charming causeur, bold, copious, witty. With his conversation, he drolly remarked, he paid his way into society. And this demigod or monster, as he was alternately named by his admirers and enemies, could be the most impassioned of lovers. His life long he was in love; Prosper Mérimée declares he never encountered such furious devotion to love. It was his master passion. Not Napoleon, not his personal ambitions, not even Italy, were such factors in Stendhal's life as his attachments. His career was a sentimental education. This ugly man with the undistinguished features was a haughty cavalier, an intellectual Don Juan, a tender, sighing swain, a sensualist, and ever lyric where the feminine was concerned. But once seated, pen in hand, the wise, worldly cynic was again master. "My head is a magic-lantern," he said. And his literary style is on the surface as unattractive as were the features of the man; the inner ear for the rhythms and sonorities of prose was missing. That is the first paradox in the Beyle-Stendhal case.
Few writers in the nineteenth century were more neglected; yet, what a chain of great critics his work begot. Commencing with Goethe in 1818, who, after reading Rome, Naples, and Florence, wrote that the Frenchman attracted and repulsed him, interested and annoyed him, but it was impossible to separate himself from the book until its last page. What makes the opinion remarkable is that Goethe calmly noted Stendhal's plagiarism of his own Italian Journey. About 1831 Goethe was given Le Rouge et le Noir and told Eckermann of its worth in warm terms. After Goethe another world-hero praised Stendhal's La Chartreuse de Parme: Balzac literally exploded a bouquet of pyrotechnics, calling the novel a masterpiece of observation, and extolling the Waterloo picture. Sainte-Beuve was more cautious. He dubbed Stendhal a "romantic hussar," and said that he was devoid of invention; a literary Uhlan, for men of letters, not for the public. Shortly after his sudden death, M. Bussière wrote in the Revue des Deux Mondes of Stendhal's "clandestine celebrity." Taine's trumpet-call in 1857 proclaimed him as the great psychologue of his century. And later, in his English Literature, Taine wrote: "His talents and ideas were premature, his admirable divinations not understood. Under the exterior of a conversationalist and a man of the world Stendhal explained the most esoteric mechanisms—a scientist who noted, decomposed, deduced; he first marked the fundamental causes of nationality, climate, temperament; he was the naturalist who classified and weighed forces and taught us to open our eyes." Taine was deeply influenced by Stendhal; read carefully his Italian Pilgrimage, and afterward Thomas Graindorge. He so persistently preached Stendhalism—beylisme, as its author preferred to term his vagrant philosophy—that Sainte-Beuve reproved him. Melchior de Vogüé said that Stendhal's heart had been fabricated under the Directory and from the same wood as Barras and Talleyrand. Brunetière saw in him the perfect expression of romantic and anti-social individualism. Caro spoke of his "serious blague," while Victor Hugo found him "somniferous." But Mérimée, though openly disavowing discipleship, acknowledged privately the abiding impression made upon him by the companionship of Beyle. 'Much of Mérimée is Stendhal better composed, better written.
About 1880 Zola, searching a literary pedigree for his newly-born Naturalism, pitched upon Stendhal to head the movement. The first Romantic—he employed the term Romanticism before the rest—the first literary Impressionist, the initiator of Individualism, Stendhal forged many formulas, was a matrix of genres, literary and psychologic. Paul Bourget's Essays in Contemporary Psychology definitely placed Beyle in the niche he now occupies. This was in 1883. Since then the swelling chorus headed by Tolstoy, Georg Brandes, and the amiable fanatics who exhumed at Grenoble his posthumous work, have given to the study of Stendhal fresh life. We see how much Nietzsche owed to Stendhal; see in Dostoïevsky's Raskolnikow-Crime and Punishment—a Russian Julien Sorel; note that Bourget, from Le Disciple to Sensations d'Italie, is compounded of his forerunner, the dilettante and cosmopolitan who wrote Promenades dans Rome and Lamiel. What would Maurice Barrès and his "culte du Moi" have been without Stendhal—who employed before him the famous phrase "deracination"? Amiel, sick-willed thinker, did not alone invent: "A landscape is a state of soul"; Stendhal had spoken of a landscape not alone sufficing; it needs a moral or historic interest. Before Schopenhauer he described Beauty as a promise of happiness; and he invented the romance of the petty European Principality. Meredith followed him, as Robert Louis Stevenson in his Prince Otto patterned after Meredith. The painter-novelist Fromentin mellowed Stendhal's procedure; and dare we conceive of Meredith or Henry James composing their work without having had a complete cognizance of Beyle-Stendhal? The Egoist is beylisme of a superior artistry; while in America Henry B. Fuller shows sympathy for Beyle in his Chevalier Pensieri-Vani and its sequel. Surely the Prorege of Arcopia had read the Chartreuse. And with Edith Wharton the Stendhal touch is not absent. In England, after the dull essay by Hayward (prefixed to E. P. Robbin's excellent translation of Chartreuse), Maurice Hewlett contributed an eloquent introduction to a new edition of the Chartreuse and calls him "a man cloaked in ice and fire." Anna Hampton Brewster was possibly the first American essayist to introduce to us Stendhal in her St. Martin's Summer. Saintsbury, Dowden, Benjamin