A Short History of French Literature

Some memoirs of great extent and interest, valuable as checking Saint Simon and Dangeau (whom Saint Simon annotated), have recently appeared for the first time, at least in a form that is to be complete. They are the work of the Marquis de Sourches260, a great court officer, and they cover the last thirty years of Louis's reign. Their chief literary peculiarity is the formal and almost official character of the text contrasted with the greater freedom of the numerous notes.

Madame de Sévigné.

The most famous and remarkable of all the letter-writers of the time – perhaps the most famous and remarkable of all letter-writers in literature – was Marie de Rabutin-Chantal, Marquise de Sévigné261. She was born at Paris on the 6th of February, 1626, and died at Grignan, of small-pox, on the 10th of August, 1696. Her family was a distinguished one both in war and other ways. Her grandmother was the well-known Sainte Chantal, the pupil of St. François de Sales, and her first cousin, as has been mentioned, was Bussy Rabutin. Her father and mother both died when she was very young, and an uncle, not more than twenty years older than herself, the Abbé de Coulanges, took charge of her, remaining, for the greater part of her life, her chief friend and counsellor. She soon became a great beauty, and something of a scholar, though not of a blue-stocking. Ménage and Chapelain had, among others, much to do with her education, and she was a member of the celebrated coterie of the Hôtel Rambouillet, though her satirical humour saved her from being a précieuse. At the age of eighteen she married the Marquis de Sévigné, of a good and wealthy Breton family. Her husband was, however, a selfish profligate, who wasted her substance with Ninon de l'Enclos, and such-like persons, – though Ninon herself, to do her justice, never plundered her lovers, – and did not pretend the slightest return for the affection she gave him. He was killed in a duel in 1651, leaving her with two children, a daughter, Françoise Marguerite, and a son Charles. After a few years of seclusion she returned to the world, being then in the full possession of her beauty, and only twenty-eight years old. She continued for more than forty years to form part of the best society of the capital, without suffering the least stain on her reputation. The selfish vanity of the superintendent Fouquet made him keep certain of her letters; but though they were discovered in a casket which was fatal to many of his friends of both sexes, Madame de Sévigné came scathless out of the ordeal. In 1669 her daughter, then twenty-two years old, married the Count de Grignan, a Provençal gentleman of the noblest birth, of great estate, rank, and fortune, but already twice a widower, past middle age, plain, and of somewhat embarrassed means, considering the great expenses which, as Governor of Provence, he had to meet. He was, however, a man of good sense and probity, and his wife seems to have been sincerely attached to him. The great bulk of Madame de Sévigné's voluminous correspondence was addressed to her daughter, for whom she had an almost frantic fondness; Charles de Sévigné, though apparently far the more lovable of the two, having but an inferior share of his mother's affection. The letters to Madame de Grignan are for the most part dated either from Paris (in which case they are full of court news and gossip), or from Les Rochers, the country seat of the Sévignés, near Vitré, in which case they are full of social satire and curious details of the provincial life of that time. One very interesting series describes the habits and regimen of Vichy, which Madame de Sévigné visited in consequence of a severe attack of rheumatism. The correspondence thus serves as a minute and detailed history of the author for the last thirty years of her life, except during her rare visits to Grignan, in one of which, as has been mentioned, she caught the illness which proved fatal to her.

It has been said that Madame de Sévigné's letters are very numerous. Those to her daughter especially were garbled in the earlier editions by omissions, and by the substitution of phrases which seemed to the 18th century more suitable than the fresh nature of the originals. The edition cited gives the extant MSS. faithfully. The enthusiastic affection lavished by the mother on the daughter naturally commends itself differently to different persons. It is certain that if it is not tedious, it is only due to the extraordinary literary art of the writer, an art which is at once the most artful and the most artless to be anywhere found. The only other faults of the letters are an occasional crudity of diction (which, however, is, when rightly taken, perfectly innocent and even valuable as exemplifying the manners of the time,) and a decided heartlessness in relating the misfortunes of all those in whom the writer is not personally interested. Madame de Sévigné has been blamed for not sympathising more with the oppression of the French people during her time. This, however, is an unfair charge. In the first place she simply expresses the current political ideas of her day, and, in the second place, she goes decidedly beyond those ideas in the direction of sympathy. Her treatment of some of her own equals leaves much more to desire. The account of Madame de Brinvilliers' sufferings – unworthy of much pity as the victim was – is callous to brutality, and it seems to be sufficient for any one to have ever offended Madame de Grignan, or to have spoken slightingly of her, to put him, or her, out of the pale of even ordinary human sympathy. But no other fault can be found. For vivid social portraiture the book equals Saint Simon at his best, while it is far more uniformly good. The letters describing the engagement of La Grande Mademoiselle to Lauzun, the death of Vatel, the trial of Fouquet, the Vichy sojourn, the meeting of the states of Britanny, and many others, are not to be surpassed in this respect. Unlike Saint Simon, too, Madame de Sévigné has no fixed idea – except that of Madame de Grignan's perfections, which rarely interferes – to prevent her from taking fresh, original, and acute views of things in general as distinguished from mere court intrigues. Her literary criticism is excellent, and if she somewhat overvalues moralists like Nicole and novelists like Mademoiselle de Scudéry, who ministered to her peculiar tastes, her remarks on the great preachers, on La Fontaine, on Corneille and Racine, display a singular insight as well as a singular power of expression. She is, indeed, except in politics, on which few persons of her class had at the time any clear or distinct ideas, never superficial; and this union of just thought with accurate observation and exceptional power of expression makes her position in literature.

Tallemant des Réaux.

Madame de Sévigné, so to speak, dwarfs all other letter-writers of her time. Yet many of those already mentioned under the head of memoirs left letters which have been preserved, and which are of merit. It is, however, not necessary to specify any except Madame de Maintenon, whose correspondence is voluminous and important both as history and as literature. It has not the charm of Madame de Sévigné, but it displays the great intellectual powers of the writer262. Of a very different kind, but not less worthy of notice are the letters of Guy Patin, which are for the most part violent Mazarinades, and full of scandalous anecdotes, but full also of lively wit. Scandal, indeed, was very much the order of the day, as appears from the large and curious collection of broadsheets and pamphlets republished by the late M. Fournier in his Variétés Historiques et Littéraires263. These, most of which refer to the present period, form a kind of appendix to historical and biographical writing of the more serious kind. There is, however, one remarkable work which remains to be noticed, and which, for want of a better place for it, must be noticed here, the Historiettes of Tallemant des Réaux264. The author of this singular book, Gédéon Tallemant des Réaux, was born at La Rochelle about 1619, and died in 1692. He was of a family not noble but wealthy and well connected, and he himself was able, by marriage with a cousin who was an heiress, to live without any profession, and to purchase an estate and seignory of some importance. Little, however, is known of his life except that he was much at the Hôtel de Rambouillet in his youth, and that in his old age he underwent some not clearly defined misfortune or disgrace. The Historiettes were written in the years immediately preceding 1660, and form an almost complete commentary on the persons most celebrated in society and literature for three quarters of a century before that date. There is no other book to which they can be exactly compared, though they have, with much less literary excellence, a certain resemblance in form to the work of Brantôme. They are, as published by Monmerqué, 376 in number, filling five (nominally ten) stout volumes. Each is as a rule headed with the name of a single person, though there are a few general or subject headings. The articles themselves are not regular biographies, but collections of anecdotes, not unfrequently of the most scandalous kind. Tallemant, though by no means of small ability, appears to have been a somewhat malicious person, and not too careful to examine the value of the stories he tells, especially when they bear heavily on the old nobility, of whom, as a new man, he was very jealous. Yet his sources of information were in many cases good, and his statements are confirmed by independent evidence sufficiently often to show that, if they are in other cases to be accepted with caution, they are not the work of a mere libeller. No one, even in that century of unstinted personal revelations, has taken us so much behind the scenes, and certainly no one has left a more amusing book of its kind or (with the proper precautions) a more valuable one.

Historical Antiquaries.

Du Cange.

The class of learned investigators into the sources of history cannot be omitted in any account of French literature; though their work was chiefly in Latin, and though even when it was not it was rather of value as material for future literature than as literature itself. This century and the earlier part of the succeeding one were the palmy time of really laborious erudition – the work of the Benedictines and Bollandists, and of many isolated writers worthy of being ranked with the members of these famous communities. The individuals composing this class are, however, too numerous, and, from the purely literary view, too unimportant to detain us. Exceptions may be made in favour of André Duchesne, whose collections of French and Norman Chronicles, and his genealogical histories of the houses of Laval and Vergi, are valuable examples of their kind; of Mabillon, famous for his labours in hagiology, in the history of France, and above all in that of Italy; and lastly, of Du Cange. The last-named has a special right to a place here because, both directly and indirectly, he did much towards the rediscovery of old French literature. Du Cange was his seignorial style, his personal name being Charles Dufresne. He devoted himself to the study of the middle ages generally, and particularly of the Byzantine Empire. He edited Joinville, wrote a history of the Latin Empire, and in his most famous work, the Glossarium Mediae et Infimae Latinitatis, contributed not a little to the study of the oldest form of French.

CHAPTER V

ESSAYISTS, MINOR MORALISTS, CRITICS

The enormous popularity which the Essays of Montaigne enjoyed could not fail to raise up imitators and followers in the century succeeding their publication. But Montaigne's influence on the production of short pieces, complete in themselves and having for the most part an ethical bearing, was supplemented by the feature of the time so often referred to, the fancy for literary coteries, and for wit combats between the members of those coteries. For this latter purpose pieces of moderate length in prose, corresponding to the sonnets, the madrigals, and such-like things in verse, were well suited. The Academy, too, with its competitions and its ordinary critical occupations, stimulated literary production in the same direction. The essay was therefore much cultivated in the seventeenth century, and not a few minor styles of composition descended from it. Such were the Pensée, a short essay on some definite and briefly handled point; the Conversation, an essay or sketch in dialogue; the Portrait, a sketch of personal character; the Maxime, a condensed Pensée, just as the Pensée was a condensed essay. In these various styles some of the most excellent work existing in French literature was composed during the time which we are at present handling; and four names of the first, or almost the first rank in literary history, Pascal, La Rochefoucauld, La Bruyère, and Saint Evremond, belong to this division, besides not a few others of less importance. Pascal, indeed, might be almost as well treated in either of the two following chapters as in the present; but if the substance of his work is for the most part philosophical or theological, the form of it seems to fall more suitably under the present head. He does not, however, open the series of Essayists.

Balzac.

Something of Montaigne's manner, as well as of his peculiar sceptical doubt, which nevertheless does not transcend the limits of orthodoxy, was continued far into the century by La Mothe le Vayer, a man of talent, but of some deliberate eccentricity and archaism in costume and manners as in style. But the most important name in the history of French prose next after that of Montaigne is that of Jean Guez de Balzac, who occupies nearly the same place in it as Malherbe does in that of French poetry. Balzac was a gentleman of rank and fortune in the province of Angoumois, where he was born towards the end of the sixteenth century, and where he died in 1655. In his younger days he served in some diplomatic employments, then for a long time resided in Paris, and finally retired to his country seat. Balzac's works are almost entirely of the essay character, though they are sufficiently diverse, and for the most part rather artificial in form. The most considerable part of them is composed of letters – not such letters as have been discussed in the preceding chapter, but elaborate epistles written deliberately for the sake of writing, and with a definite attempt at style. Besides these, which are very numerous, Balzac was also the author of discourses on various subjects and of certain nondescript works of an ethico-political character, the principal and best known of which is the Socrate Chrétien. In all, his work was sufficient to fill two folio volumes when it was collected265. Balzac is a really remarkable figure in literary history, because he is, in his own tongue and nation, almost the first person who deliberately wrote for the sake of writing, and not because he had anything particular to say. The practice is perhaps not one to be commended to the general run of men at any time, or even to exceptional men, except at a peculiar time. But done as it was, and when it was, Balzac's work was really of importance and advantage to his countrymen. The prose literature of the sixteenth century had been admirable, but it had not resulted in the elaboration of any general style of all work. Each writer had followed his instincts, and when those instincts were under the guidance of genius, as they frequently were, many writers had produced admirable results. But the general use of the printing press, and the adaptation of literature to all sorts of journey-work, made it imperatively necessary that the tools should be put ready fashioned into the hands of ordinary workmen instead of each man having to manufacture them for himself. Various steps had been taken in this direction. Guillaume du Vair had already written a Traité de l'Éloquence Française; Vaugelas, a Savoyard by birth, was shortly to undertake some valuable Remarques on French grammar and style, which long remained a standard book. But not many examples of deliberate composition had been given. It was these examples of deliberate composition which Balzac furnished, and which, in a lighter and more graceful fashion, and to a more limited circle, were also given by the letters of the poet Voiture. Balzac, as is natural in the first attempts at a polished prose style, has the drawback of being somewhat rhetorical and occasionally ponderous. But the important point is that the mechanism of the clause, the sentence, and the paragraph has evidently been considered by him, and that he has succeeded in getting it into very tolerable condition. His sentences no longer run on to the interminable length of earlier writers, or finish in the haphazard manner, neglectful of rhythm, balance, and proportion, also noticeable in his predecessors. The substitution of the full stop for the conjunction, which, speaking generally, may be said to be the initiating secret of style (though of course it must not be applied too indiscriminately), is at once apparent in Balzac's best passages, and he rarely falls into the error which waits on this substitution, the error of scrappiness. His style is perhaps better suited to oratory than to writing; a not unlikely result, since his models were pretty obviously the classical orators. But there can be no doubt that to him in no small part is due the extraordinary outburst of rhetorical power which distinguished the preachers of the latter half of the century. Nor was it long before what was faulty in Balzac's style was corrected by the example of very different writers.

Pascal.

Blaise Pascal266 was born at Clermont, in Auvergne, on the 19th of June, 1623. His father was President of the Court of Aids, but when the boy was eight years old the family moved to Paris. Pascal was one of the small number of extraordinarily precocious children who have justified their precocity by genius equally extraordinary in after-life; but it does not appear that he was forced by his father (who took the whole charge of his education), and it is said that he did not begin Latin until he was twelve years old – a very late age for the time. Mathematics, however, were his chief study and delight, and he early excelled in them, showing also an extraordinary faculty in applying them to physics. At nineteen he invented a calculating machine. But his application to study did not improve his health. He was but five-and-twenty at the time of his famous experiment with the barometer on the Puy de Dome in his native province. He was soon exposed to the philosophical influence of Descartes on the one hand, and the theological influence of the Jansenists on the other, and he felt both deeply. His greatest work, the Provinciales, appeared in 1656. He died on the 19th of August, 1662, having long lived in retirement and asceticism, giving much of his substance to the poor, and abandoning himself almost entirely to religious, mathematical, and philosophical meditation.

We have nothing to do here with his purely mathematical works or those in natural science. The two books by which he belongs to literature, and which have placed him among the foremost writers of his country, are the Provinciales and the so-called Pensées. The former were regularly published by himself in his lifetime, though they were ostensibly anonymous, or rather pseudonymous. The Pensées consist of scattered reflections, which were found in his papers after his death. They were published, but, as has been discovered of late years, with much omission and garbling, and the restoration of them to their authentic form has been effected in comparatively recent times.

The famous title of Les Provinciales is only a convenient abbreviation of the original, which is Lettres Ecrites par Louis de Montalte à un Provincial de ses Amis et aux Révérends Pères Jésuites sur le Sujet de la Morale et de la Politique de ces Pères. This somewhat cumbrous appellation has at any rate the merit of exactly describing the contents of the book, except that Louis de Montalte is of course a pseudonym. The letters were written at the height of the early struggle (which had not yet been interfered with by the secular arm) of Jansenists and Jesuits, and they inflicted on the famous society a blow from which it has never wholly recovered, and from which it can never wholly recover. The method and style of Pascal are entirely original, except in so far as a slight trace of indebtedness to Descartes may be observed in the first respect, and a slight debt to Montaigne and the Satire Ménippée in the second. His great weapon is polite irony, which he first brought to perfection, and in the use of which he has hardly been equalled and has certainly not been surpassed since. The intricate casuistries of the Jesuits are unfolded in the gravest fashion and without the least exaggeration or burlesque, but with a running comment or rather insinuation of sarcasm which is irresistible. The author never breaks out into a laugh, never allows himself to be declamatory and indignant. There is always a smile on his countenance, but never anything more pronounced than a smile. Yet the contempt of this is more crushing than that of the bitterest invective. In the later letters indeed the mask of irony is to a certain extent dropped, and a more serious tone is taken. But effective as these are they are not the most effective part of the Provinciales. That part is the earlier one, in which, without dry scholastic argument, without the coarse abuse which the sixteenth century had regarded as inseparable from theological controversy, and at the same time with almost absolute accuracy of statement – for the misrepresentations which two centuries of eager and able apologists for the Order have been able to detect are insignificant – the author carried the discussion out of the schools into the drawing-room, made every man of fair education and breeding a judge of it, and triumphantly brought the judgment of the vast majority of such men on his side. To this day Pascal, with Swift and Courier, is the greatest example in modern literature of irony, excelling Swift as much in elegance and good-breeding as he falls short of him in sombre force, and having the advantage over his brilliant follower at the beginning of this century in depth and nobility of thought.

The Pensées supply the reverse side of Pascal's character, and the supplement to any proper estimate of his literary genius. But from the circumstances already referred to, they are evidence of a less complete though an even more genuine kind than the Provinciales. The scepticism which ate so deeply into the heart of the seventeenth century affected Pascal, though he rarely wavered in point of abstract faith. To few men, however, was doubt more painful, and as no clearer or more piercing intellect has ever existed, so to none was doubt more constantly present. The Pensées in their genuine form exhibit the thoughts to which this conflict of opinion gave rise in him, and are in remarkable contrast with the polished and sedate badinage of the letters. But few if any of them are finally worked up into the form in which the author would have been likely to present them to the public, and therefore, from the point of view of pure literary criticism, they require less notice here than the sister volume.

The revolution, as far as style is concerned, which in point of time is already noticeable in Descartes, has entirely accomplished itself in Pascal. The last vestige of archaism, of quaintness of phrase, of clumsiness in the architecture of the sentence or the paragraph, has passed away. Indeed, it can hardly be said that two centuries have added much to the language except in point of richness and adaptation to the more multifarious needs of the describer in modern times. The style is extremely simple, but it has none of the monotony, the lack of colour, and the stereotyped form which are the great drawbacks of French after Boileau as contrasted with French before him. It is extraordinarily graphic, sparkling with epigram at every point, and yet never sacrificing sense to the play of words. The Pensées (which it must always be remembered were never finally worked up) yield matter which will compare with the carefully concocted Maxims of La Rochefoucauld or of Joubert, while the Provinciales are, as has been said, unsurpassable in their own line. It is probable that most good judges would allot to Pascal in French the place which Dryden occupies in English, that is to say, the place of the writer who combines most of the advantages of the elder and younger manners. But Pascal, who wrote merely to please himself, had this great advantage over Dryden, that his work contains no mere journey-work, and especially nothing unworthy of him. Admirable as it is in style, it is equally admirable in meaning and in adaptation to that meaning, and it has thus both the sources of lasting popularity at command. Dealing, moreover, as it does with subjects of perennial importance and interest, it is almost entirely exempt from the necessity of comment and explanation which weighs down much admirable work of past ages. No man, however indisposed to serious reading, can put down the Provinciales as dull; no man, however unwilling to read anything that is not serious, can complain of levity in the Pensées. There are few authors in any language who unite as Pascal does the claims of importance of subject, charm of style, and bulk, without too great voluminousness of production. He has, moreover, the additional merit of being in a high degree representative of his age. That age had grown too complex for one man to reflect the whole of it, but Pascal and Molière (with perhaps Saint Evremond or La Rochefoucauld as thirdsman) supply an almost complete reflection.