CORRESPONDENCE WITH FLAUBERT--LAST NOVELS
With that maternal instinct which was so strong within her, George Sand could not do without having a child to scold, direct and take to task.
The one to whom she was to devote the last ten years of her life, who needed her beneficent affection more than any of those she had adopted, was a kind of giant with hair turned back from his forehead and a thick moustache like a Norman of the heroic ages. He was just such a man as we can imagine the pirates in Duc Rollo's boats.
This descendant of the Vikings had been born in times of peace, and his sole occupation was to endeavour to form harmonious phrases by avoiding assonances.
I do not think there have been two individuals more different from each other than George Sand and Gustave Flaubert. He was an artist, and she in many respects was _bourgeoise_. He saw all things at their worst; she saw them better than they were. Flaubert wrote to her in surprise as follows: "In spite of your large sphinx eyes, you have seen the world through gold colour."She loved the lower classes; he thought them detestable, and qualified universal suffrage as "a disgrace to the human mind."She preached concord, the union of classes, whilst he gave his opinion as follows:
"I believe that the poor hate the rich, and that the rich are afraid of the poor. It will be like this eternally."It was always thus. On every subject the opinion of the one was sure to be the direct opposite of the opinion of the other.
This was just what had attracted them.
"I should not be interested in myself," George Sand said, "if Ihad the honour of meeting myself." She was interested in Flaubert, as she had divined that he was her antithesis.
"The man who is Just passing," says Fantasio, "is charming. There are all sorts of ideas in his mind which would be quite new to me."George Sand wanted to know something of these ideas which were new to her. She admired Flaubert on account of all sorts of qualities which she did not possess herself. She liked him, too, as she felt that he was unhappy.
She went to see him during the summer of 1866. They visited the historic streets and old parts of Rouen together. She was both charmed and surprised. She could not believe her eyes, as she had never imagined that all that existed, and so near Paris, too.
She stayed in that house at Croisset in which Flaubert's whole life was spent. It was a house with wide windows and a view over the Seine. The hoarse, monotonous sound of the chain towing the heavy boats along could be heard distinctly within the rooms.
Flaubert lived there with his mother and niece. To George Sand everything there seemed to breathe of tranquillity and comfort, but at the same time she brought away with her an impression of sadness. She attributed this to the vicinity of the Seine, coming and going as it does according to the bar.
"The willows of the islets are always being covered and uncovered,"she writes; "it all looks very cold and sad.[52]
[52] _Correspondance:_ To Maurice Sand, August 10, 1866.
She was not really duped, though, by her own explanation. She knew perfectly well that what makes a house sad or gay, warm or icy-cold is not the outlook on to the surrounding country, but the soul of those who inhabit it and who have fashioned it in their own image.
She had just been staying in the house of the misanthropist.
When Moliere put the misanthropist on the stage with his wretched-looking face, he gave him some of the features which remind us so strongly of Flaubert. The most ordinary and everyday events were always enough to put Alceste into a rage.
It was just the same with Flaubert. Everyday things which we are philosophical enough to accept took his breath away. He was angry, and he wanted to be angry. He was irritated with every one and with everything, and he cultivated this irritation. He kept himself in a continual state of exasperation, and this was his normal state.
In his letters he described himself as "worried with life,""disgusted with everything," "always agitated and always indignant."He spells _hhhindignant_ with several h's. He signs his letters, "The Reverend Father Cruchard of the Barnabite Order, director of the Ladies of Disenchantment." Added to all this, although there may have been a certain amount of pose in his attitude, he was sincere.
He "roared" in his own study, when he was quite alone and there was no one to be affected by his roaring. He was organized in a remarkable way for suffering. He was both romantic and realistic, a keen observer and an imaginative man. He borrowed some of the most pitiful traits from reality, and recomposed them into a regular nightmare.
We agree with Flaubert that injustice and nonsense do exist in life.
But he gives us Nonsense itself, the seven-headed and ten-horned beast of the Apocalypse. He sees this beast everywhere, it haunts him and blocks up every avenue for him, so that he cannot see the sublime beauties of the creation nor the splendour of human intelligence.
In reply to all his wild harangues, George Sand gives wise answers, smiling as she gives them, and using her common sense with which to protect herself against the trickery of words. What has he to complain of, this grown-up child who is too ***** and who expects too much? By what extraordinary misfortune has he such an exceptionally unhappy lot? He is fairly well off and he has great talent. How many people would envy him! He complains of life, such as it is for every one, and of the present conditions of life, which had never been better for any one at any epoch. What is the use of getting irritated with life, since we do not wish to die?
Humanity seemed despicable to him, and he hated it. Was he not a part of this humanity himself? Instead of cursing our fellow-men for a whole crowd of imperfections inherent to their nature, would it not be more just to pity them for such imperfections?
