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Updated: June 17, 2025
Yet in a way this swerving into the devious orbit of the novel of intense purpose helped Daudet in his progress towards naturalism, and imparted something of stability to his methods of work. Sapho, which appeared next, was the first of his novels that left little to be desired in the way of artistic unity and cumulative power.
But when all is said, it remains clear that The Nabob is open to the charge that applies to all the greater novels save Sapho the charge that it exhibits a somewhat inharmonious mixture of sentimentalism and naturalism. Against this charge, which perhaps applies most forcibly to that otherwise almost perfect work of art, Numa Roumestan, Daudet defended himself, but rather weakly. Nor does Mr.
Locke's Smerdis, and the daughter of Rosalys II. Miss Cora Wallace, of East Brady, Pa., has Lord Ruffles, son of the first Rosalys and The Beadle, formerly Bumble Bee. Mrs. Fisk Greene, of Chicago, now owns a beautiful cat in Bumble Bee, and another in Miss Merrylegs, a blue with golden eyes, the daughter of Bumble Bee and Black Sapho.
The strong but overwrought Evangelist, Sapho which of course belongs with the chief novels from the Continental but not from the insular point of view and the books of Daudet's decadence, The Immortal, and the rest, cost him few friendships, but scarcely gained him many. For the man and his career are as unaffectedly charming as his style, and more of a piece than his elaborate works of fiction.
But to see her after the Santuzza of Duse, in Verga's "Cavalleria Rusticana," is to realise the difference between this art of the animal and Duse's art of the soul. And if one thinks of Réjane's "Sapho," the difference is hardly less, though of another kind.
His first important novel, "Fromont Jeune et Risler Aine," 1874, enjoyed a notable success; it was followed in 1876 by "Jack," in 1878 by "Le Nabob," in 1879 by "Les Rois en Exil," in 1881 by "Numa Roumestan," in 1883 by "L'Evangeliste," and in 1884 by "Sapho." These are the seven great romances of modern French life on which the reputation of Alphonse Daudet as a novelist is mainly built.
Two months later Lyly's Sapho and Phao was given in the same theater with a cast of seventeen boys. It should be remembered that these plays, so important in the evolution of the drama, were acted by boys under royal patronage.
"Sapho" herself, in tracing her own portrait with a careful and elaborate pencil, told the world how shamefully she had been imitated by the spurious middle-class Saphos, who set up their salons, and vied with the sacred house of Rambouillet, and the privileged coterie of the Rue de Temple.
Whether it was that some of us saw in him that hitherto unguessed-at phenomenon, a French Dickens not an imitator, indeed, but a kindred spirit or that others found in him a refined, a volatilized "Mark Twain," with a flavour of Cervantes, or that still others welcomed him as a writer of naturalistic fiction that did not revolt, or finally that most of us enjoyed him because whatever he wrote was as steeped in the radiance of his own exquisitely charming personality as a picture of Corot's is in the light of the sun itself whatever may have been the reason, Alphonse Daudet could count before he died thousands of genuine friends in England and America who were loyal to him in spite of the declining power shown in his latest books, in spite even of the strain which Sapho laid upon their Puritan consciences.
Or who, indeed, wishes to indulge in further comment after the scene has risen to his mind? The Nabob was followed by Kings in Exile; then came Numa Roumestan and The Evangelist; then, on the eve of Daudet's breakdown, Sapho; and the greatest of his humorous masterpieces, Tartarin in the Alps. It is not yet certain what rank is to be given to these books.
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