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Sainte-Beuve, who was past-master in the difficult art of conversation, and on whom a fair woman acted as an inspiration, surpassed himself on this occasion, surprising even the Goncourts with his knowledge of the Eighteenth century and the women of that time, Mme. de Boufflers, Mlle. de Lespinasse, la Maréchale de Luxembourg. The hours flew by unheeded by all of his guests but one.
The de Goncourts, in their History of French Society during the Revolution and under the Directoire, applied this method with all the zeal of fresh disciples, and with hardly enough discretion. Taine's Origins of Contemporary France abdicates none of the older historian's role, but its background is Balzacian.
The only French novelist whose books have a circulation approaching the works of Daudet and of Zola is Georges Ohnet, a writer whose popularity is as interesting as his stories, because it explains, though it does not excuse, the contempt the Goncourts had for the favor of the great French public, and also because it shows how the highest form of Romanticism still ferments beneath the varnish of Naturalism in what is called genius among the great masses of readers.
"Yes, they have. They are in love with the age, and that shows them up for what they are." "Do you mean to tell me Flaubert and the De Goncourts were in love with the age?" "Of course not. But those men were artists, honest, seditious, and aloof, and I put them in a class by themselves.
Yes, I scribbled four pages which would have been no disgrace to the Journal des Goncourts, that exquisite manual of the perfect reporter.
The son of an eminent surgeon of Rouen, Gustave Flaubert may have acquired from his father something of that scientific precision of observation and that cutting accuracy of expression, by which he gained his place at the head of modern French realism and won the discipleship of the Goncourts, Daudet, Zola, and Maupassant and the applause of such connoisseurs of technique as Walter Pater and Henry James.
When M. Loti-Viaud, that most exquisite of French prose artists and sentimental sensualists, made his appearance, Lafcadio was ravished into the seventh heaven. You can't read a page of Loti aloud; hearing is never the final court of appeal for him. Nor is the ear regarded in Hearn's prose. He is not "auditive"; like Loti and the Goncourts, he writes for the eye. Fr.
And on this point one might apply to them all that one knows of the ideas of the Goncourts and Flaubert, and later of Zola, in the domain of the novel. They were moved by the same ideas; to speak of the one group is to speak of the other.
In the earlier novels, perhaps, the transitions from episode to episode or from scene to scene are often abrupt, suggesting the manner of the Goncourts. But to Zola he forms an instructive contrast, of the same school, but not of the same family. Zola is methodical, Daudet spontaneous. Zola works with documents, Daudet from the living fact.
A fantaisiste, graceful, delicate and indelicate emerged after the lad went up to Paris, as if he had stepped out of the eighteenth century. Rops summed up in his book plates, title-pages, and wood-cuts, illustrations done in a furious speed, all the elegance, the courtly corruption, and Boucher-like luxuriousness that may be detected in the moral marquetrie of the Goncourts.
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