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The cry of the upholders of this doctrine is: Truth in art, war against the freaks of the imagination that colors all in unreal tints. The writers who have adopted such sentiments have been termed "Realists," much to their dissatisfaction. Balzac was the greatest of them. Champfleury may be called the most strenuous supporter of the system.
Everybody was severely wounded: Jules Janin, Paulin Limayrac, Champfleury, Barbey d'Aurevilly, and a host of others. Not a bit of it! Not a bit of it! There were negotiations, embassies, explanations exchanged which explained nothing, and reparations made which repaired nothing. But there was not a shot fired. There was not a drop of blood drawn. O Lord! no!
Now were we gladder than ever of Vigo's escort; for whenever we approached a band of roisterers or of gentlemen with lights, mademoiselle sheltered herself behind the equery's broad back, hidden as behind a tower. Once the gallant M. de Champfleury, he who in pink silk had adorned Mme. de Mayenne's salon, passed close enough to touch her. She heaved a sigh of relief when he was by.
I had given all my hopes of glory to be out in the street again. I wished Mlle. de Montluc would take me to the stables anywhere out of this laughing company. But she had no such intent. "I think madame does not mean her sentence," she rejoined. "I would not for the world frustrate your curiosity, Blanche; nor yours, M. de Champfleury. Tell us what has befallen your master, Sir Courier."
With regard to the painting of cats Champfleury said, "The lines are so delicate, the eyes are distinguished by such remarkable qualities, the movements are due to such sudden impulses, that to succeed in the portrayal of such a subject, one must be feline one's self." And Mr. Spielman gives the following advice to those who would paint cats:
When Champfleury visited the college years afterwards, the only person who remembered Balzac was the old Father who had charge of these cells, and he spoke of the boy's "great black eyes." Confinement in these culottes de bois, as they were called, was much dreaded by the boys, and the punishment seems barbarous and senseless, except from the point of view of getting rid of troublesome pupils.
Un rude peintre de moeurs, M. Champfleury calls him; and the phrase expresses his extreme breadth of treatment. Of the victims of his "rudeness" M. Thiers is almost the only one whom the present generation may recognize without a good deal of reminding, and indeed his hand is relatively light in delineating this personage of few inches and many episodes.
One of the last portraits of Balzac at this period is the one traced by Champfleury, whom he had received as a disciple and fervent admirer: "M. de Balzac," he wrote, "descended the stairs enveloped in his famous monk's robe.
This time, before taking leave of Paris for ever, as I supposed- -I felt impelled to bid an intimate farewell to the few French friends who had stood by me loyally in the difficulties I had overcome. We met at a cafe in Rue Lafitte Gasperini, Champfleury, Truinet and I and talked until late in the night. When I was about to start on my homeward way to the Faubourg St.
"Many a time," said Champfleury, "when he and I have been walking together, have we stopped to look at a cat curled luxuriously in a pile of fresh white linen, revelling in the cleanliness of the newly ironed fabrics.
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