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Updated: May 14, 2025
He would please himself, and shine. Had he lived in the Paris of 1830, and joined his lot with the Romantics, we can conceive him writing Jehan for Jean, swaggering in Gautier's red waistcoat, and horrifying Bourgeois in a public café with paradox and gasconnade. A leading trait throughout his whole career was his desire to be in love. Ne fait pas ce tour qui veut.
We have been told also that the realists paint the manners of their own place and time, while the romantics deal with more remote materials. But this distinction, likewise, often fails to hold.
for what did she care for such particulars when her eyes were at their clearest? Her perception was intellectual; and to the penetrating glances of her mental vision the objects of the sensual world were mere irrelevance. The kind of writing produced by such a quality of mind may seem thin and barren to those accustomed to the wealth and variety of the Romantic school. Yet it will repay attention. The vocabulary is very small; but every word is the right one; this old lady of high society, who had never given a thought to her style, who wrote and spelt by the light of nature, was a past mistress of that most difficult of literary accomplishments 'l'art de dire en un mot tout ce qu'un mot peut dire. The object of all art is to make suggestions. The romantic artist attains that end by using a multitude of different stimuli, by calling up image after image, recollection after recollection, until the reader's mind is filled and held by a vivid and palpable evocation; the classic works by the contrary method of a fine economy, and, ignoring everything but what is essential, trusts, by means of the exact propriety of his presentation, to produce the required effect. Madame du Deffand carries the classical ideal to its furthest point. She never strikes more than once, and she always hits the nail on the head. Such is her skill that she sometimes seems to beat the Romantics even on their own ground: her reticences make a deeper impression than all the dottings of their i's. The following passage from a letter to Walpole is characteristic: Nous eûmes une musique charmante, une dame qui joue de la harpe
On the writing-table were piles of paper-covered French books, representing for the most part the palmy days of the Romantics, though every here and there were intervening strata of naturalism, balanced in their turn by recurrent volumes of Sainte-Beuve. The whole had a studious air.
Hyde," with its subversion of the actual, is the sort of story that might be set out of space, out of time; but Stevenson enhanced the effect of its imaginative plausibility by setting it in contemporary London. More and more, in recent years, the romantics have followed the lead of the realists in embodying their truth in scenes and characters imitated from actuality.
With interest, I say, for was not the kind Norman giant with enormous mustaches and a thundering voice the last of the Romantics? Was he not, in his unworldly, almost ascetic, devotion to his art, a sort of literary, saint-like hermit?
No one would think of making such a claim now, but the detraction which he suffered at the hands of Wordsworth and the Romantics, ought not to make us forget that Pope, though not our greatest, not even perhaps a great, poet is incomparably our most brilliant versifier.
The movement affected the whole of French literature, but its most important results were in the domain of Prose. Nowhere were the defects of the Romantics more obvious than in their treatment of history.
=A Third Unsatisfactory Distinction.= We have been told also that the realists paint the manners of their own place and time, while the romantics deal with more remote materials. But this distinction, likewise, often fails to hold.
=A Second Unsatisfactory Distinction.= Again, we have been told that, in their stories, the romantics dwell mainly upon the element of action, while the realists are interested chiefly in the element of character.
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