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Updated: June 14, 2025
Forain, with the pencil of a realism truly Japanese, illustrates with sympathetic incisiveness the pitiless pessimism of Flaubert, Goncourt, and Maupassant as well.
Had there been the very slightest foundation for the calumnies which had been propagated against her, we may be sure that such a person as Madame du Deffand would not only have heard them, but would have been but too willing to believe them. His denunciation of them is a proof that she knew their falsehood. Goncourt, p. 388, quoting La Quotidienne of October 17th, 18th.
Sainte-Beuve, "Nouveaux Lundis," August 8th, 1864. "Histoire de Marie Antoinette," par E. and J. de Goncourt, p. 11. How popular masked halls were in London at this time may be learned from Walpole's "Letters," and especially from a passage in which he gives an account of one given by "sixteen or eighteen young Lords" just two months before this ball at Vienna.
It declines to have a creed of any kind slammed into its face so many new ones have palpably failed, and so many old ones have proved themselves possessed of forgotten virtues. Good and evil have proved to be omnipresent, and to pervade everything, like iron and sulphur. Madame Gervaisais. By Edmond and Jules de Goncourt. New Edition. Paris. This is in many respects a remarkable book.
The majorities were, on their question, 683 to 66; on the second, 423 to 281; on the third, 387 to 334; so that on this last, the fatal question, it would have been easy for the Girondins to have turned the scale. Goncourt, p. 370, quoting "Fragments de Turgy." "S'en défaire." Louis XVII., sa Vie, son Agonie, sa Mort, par M. de Beauchesne, quoting Senart.
The more closely one examines that period, the more clearly he sees that the pictures, given by Thibaudeau and Challamel and De Goncourt are not at all exaggerated. The contrast between these gay creatures of the Directory period and the people at large was striking.
Physicians were hastily summoned from Paris, only, to Louis' despair, to declare that they could do nothing to save the life of the Comtesse. "Tortured by excruciating pain," says de Goncourt, "struggling against a death which was full of terror, and which seemed to point to the violence of poison, the dying woman sent for a confessor.
It finds its support in positivist philosophy; Herbart in Germany, Bentham and Mill in England, Comte and Littre in France. In criticism, Sainte-Beuve's third manner. On the stage, the younger Dumas. In novels, the brothers Goncourt, and Flaubert. In Art, a certain brutality in the choice of subject, Gerome and Regnault.
It is all pathetically mirrored in the typical English comic paper, Punch, this inability to go below the surface of life, or even to touch life at all, save in narrowly prescribed regions. But Goncourt is always able to say what there is to say, simply and vividly; whatever aspect of life presents itself, of that he is able to speak.
Whatever he sacrificed, it was not actuality. His draughtsmanship never falters, his touch is never infirm. I have seen his portraits of Verlaine, Daudet, Edmond de Goncourt, Geffroy, of the artist himself and many others. The Verlaine is a veritable evocation. It was painted at one séance of several hours, and the poet, it is said, did not sit still or keep silence for a moment.
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