His criticisms of music and painting are chiefly interesting for what they tell us of his temperament. He called himself "observer of the human heart," and was taken by a cautious listener for a police spy. He seldom signed the same name twice to his letters. He delighted to boast of various avocations; little wonder the Milanese police drove him out of the city. He said that to be a good philosopher one must be sec, and without illusions. Perspicacious, romantic, delicate in his attitude toward women, he could be rough, violent, and suspicious. He scandalised George Sand, delighted Alfred de Musset; Madame Lamartine refused to receive him in her drawing-room at Rome. His intercourse with Byron was pleasant. He disliked Walter Scott and called him a hypocrite—possibly because there is no freedom in his love descriptions. Lord Byron in a long letter expostulated with Stendhal, defending his good friend, Scott; but Stendhal never quite believed in the poet's sincerity—indeed, suspecting himself, he suspected other men's motives. He had stage-fright when he first met Byron—whom he worshipped. A tremulous soul his, in a rude envelope. At Venice he might have made the acquaintance of young Arthur Schopenhauer and Leopardi, but he was too much interested in the place to care for new faces.
He said that without passion there is neither virtue nor vice. (Taine made a variation on this theme.) A dagger-thrust is a dignified gesture when prompted by passion. After the Napoleonic disaster, Stendhal had lost all his hopes of referment; he kept his temper admirably, though occasionally calling his old chief bad names. It was a period of the flat, stale, platitudinous, and bourgeois. "In the nineteenth century one must be either a monster or a sheep," wrote Beyle to Byron. A patriot is either a dolt or a rogue! My country is where there are most people like me—Cosmopolis! The only excuse for God is that he does not exist! Verse was invented to aid the memory! A volume of maxims, witty and immoral, might be gathered from the writings of Stendhal that would equal Rivarol and Rochefoucauld. "I require three or four cubic feet of new ideas per day, as a steamboat requires coal," he told Romain Colomb. What energy, what lassitude this man possessed! He spoke English—though he wrote it imperfectly—and Italian; the latter excellently because of his long residence in Italy.
Nietzsche, in Beyond Good and Evil, described Stendhal as "that remarkable man who, with a Napoleonic tempo, traversed his Europe, in fact several centuries of the European soul, as a surveyor and discoverer thereof. It has required two generations to overtake him one way or other; to divine long afterward some of the riddles that perplexed and enraptured him—this strange Epicurean and man of interrogation, the last great psychologist of France." He also spoke of him as "Stendhal, who has, perhaps, had the most profound eyes and ears of any Frenchman of this century."
Stendhal said that Shakespeare knew the human heart better than Racine; yet despite his English preferences, Stendhal is a psychologist of the Racinien school. When an English company of players went to Paris in 1822, Stendhal defended them by pen and in person. He was chagrined that his fellow-countrymen should hiss Othello or The School for Scandal. He despised chauvinisme, he the ideal globe-trotter. And he was contradictory enough to have understood Tennyson's "That man's the best cosmopolite who loves his native country best." He scornfully remarked that in 1819 Parisian literary logic could be summed up thus: "This man does not agree with me, therefore he is a fool; he criticises my book, he is my enemy; therefore a thief, an assassin, a brigand, and forger." Narrow-mindedness must never be imputed to Stendhal. Nor was he a modest man—modesty that virtue of the mediocre.
How much Tolstoy thought of the Frenchman may be found in his declaration that all he knew about war he learned first from Stendhal. "I will speak of him only as the author of the Chartreuse de Parme and Le Rouge et le Noir. These are two great, inimitable works of art. I am indebted for much to Stendhal. He taught me to understand war. Read once more in the Chartreuse de Parme his account of the battle of Waterloo. Who before him had so described war—that is, as it is in reality?" In 1854 they said Balzac and Hugo; in 1886, Balzac and Stendhal. Some day it may be Stendhal and Tolstoy. The Russian with his slow, patient amassing of little facts but follows Stendhal's chaplet of anecdotes. The latter said that the novel should be a mirror that moves along the highway; a novel, he writes elsewhere, is like a bow—the violin which gives out the sound is the soul of the reader. And Goncourt assimilated this method with surprising results. Stendhal first etched the soul of the new Superman, the exalted young man and woman—Julien Sorel and Matilde de la Môle. They are both immoralists. Exceptional souls, in real life they might have seen the inside of a prison. Stendhal is the original of the one; the other is the source of latter-day feminine souls in revolt, the souls of Ibsen and Strindberg. Laclos's Les Liaisons Dangereuses and Marivaux he has remoulded—Valmont is a prototype of Julien Sorel.
J. J. Weiss has said that profound immorality is probably an attribute common to all great observers of human nature. It would require a devil's advocate of unusual acuity to prove Stendhal a moral man or writer. His philosophy is materialistic. He wrote for the "happy few" and longed for a hundred readers, and wished his readers to be those amiable, unhappy souls who are neither moral nor hypocritical. His egoism brought him no surcease from boredom. His diaries and letters and memoirs, so rich in general ideas, are valuable for the student of human nature. The publication of his correspondence was a revelation—a very sincere, human Stendhal came into view. His cosmopolitanism is unaffected; his chapters are mosaics of facts and sensations; his manner of narrative is, as Bourget says, a method of discovery as well as of exposition. His heroes and heroines delve into their motives, note their ideas and sensations. With a few exceptions, modern romancers, novelists, psychologists of fiction seem shallow after Stendhal. Taine confesses to reading Le Rouge et le Noir between thirty and forty times. Stendhal disliked America; to him all things democratic were abhorrent. He loathed the mass, upheld the class; an individualist and aristocrat like Ibsen, he would not recognize the doctrine of equality. The French Revolution was useful only because it evolved a strong man—Napoleon. America, being democratic, would therefore never produce art, tragedy, music, or romantic love.
It is the fate of some men to exist only as a source of inspiration for their fellow-artists. Shelley is the poet's poet, Meredith the novelist's novelist, and Stendhal a storehouse for psychologues. His virile spirit, in these times of vapid socialistic theories, is a sparkling and sinister pool wherein all may dip and be refreshed—perhaps poisoned. He is not orthodox as thinker or artist; but it is a truism that the wicked of a century ago may be the saints of to-morrow. To read him is to increase one's wisdom; he is dangerous only to fools. Like Schopenhauer and Ibsen, he did not flatter his public; now he has his own public. And nothing would have amused this charming and cynical man more than the knowledge of his canonisation in the church of world literature. He gayly predicted that he would be understood about 1880–1900; but his impertinent shadow projects far into the twentieth century. Will he be read in 1935? he has asked. Why not? A monument is to be erected to him in Paris. Rodin has designed the medallion portrait.
II
The labours, during the past twenty years, of Casimir Stryienski, François de Nion, L. Bélugon, Arthur Chuquet, Henry Cordier, Pierre Brun, Ricciotto Canudo, Octave Uzanne, Hugues Rebell—to quote the names of a few devoted Stendhalians—have enabled us to decipher Stendhal's troubled life. M. Stryienski unearthed at Grenoble a mass of manuscript,