The Romance of a Poor Young Man. Harland Henry

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      The Romance of a Poor Young Man

      OCTAVE FEUILLET'S NOVELS

      To be serious seriously is the way of mediocrity. To be serious gaily is not such an easy matter. To look on at the pantomime of things, and to see, neatly separated, tragedy here, comedy opposite – to miss the perpetual dissolution and resolution of the one into and out of the other – is inevitable when eyes are purblind. Diis aliter visum. Olympus laughs because it perceives so many capital reasons for pulling a long face; and half the time pulls a long face simply to keep from laughing. I imagine it is in some measure the Olympian manner of seeing which explains the gay seriousness of the work of Octave Feuillet.

      Octave Feuillet possesses to an altogether remarkable degree the art of being serious not only gaily, but charmingly. This, to begin with, places him and his stories in a particular atmosphere; and, if we consider it, I think we shall recognise that atmosphere as something very like the old familiar atmosphere of the fairy-tale. At any rate, there is a delicate, a fanciful symbolism in Feuillet's work, which breathes a fragrance unmistakably reminiscent of the enchanted forest. For an instance, one may recall the chapter in Un Mariage dans le Monde which relates the escapade of Lionel and his betrothed on the day before their wedding. A conventional mother, busy with preparations for the ceremony, intrusts her daughter to the chaperonage of an old aunt, who is, we might suppose, exactly the person for the office. But old aunts are sometimes wonderfully made; sometimes they keep the most unlooked-for surprises up those capacious old-fashioned sleeves of theirs. This one was a fairy godmother in disguise, and, I suspect, a pupil of the grimly-benevolent Blackstick. With good-humoured cynicism, she remarks that the happiest period of even the happiest married life is the day before it begins, and she advises her young charges to make the most of it – chases them, indeed, from her presence. "Be off with you, my children! Come, be off with you at once!" They escape to the park, where they romp like a pair of truant school-children. That is all; but in Feuillet's hands it becomes a fairy idyl. It serves, besides, the symbolic purpose of striking at the outset the note of joyousness which he means to repeat at the end, though the book is one that threatens, almost to the last page, to end on a note of despair. For Un Mariage dans le Monde, if far from being the most successful of Feuillet's novels, exhibits, none the less, some of his cleverest craftsmanship. He hoodwinks us into the fear that he meditates disaster, only pleasantly, genially, at the right moment, to disappoint us with the denouement we could have wished.

      Feuillet's geniality, for that matter, runs through all his books, and is one of the vital principles of his talent. It is never the flaccid geniality, the amiability, of the undiscerning person; it is, rather, the wise and alert geniality of the benign magician, who is sometimes constrained to weave black spells, because that is a part of the game, and in the day's work, as it were, but who puts his heart only into the weaving of spells that are rose-coloured. This is perhaps why Feuillet's nice people nearly always take flesh and live and breathe, his horrid people hardly ever – another resemblance, by-the-bye, between him and the writer of fairy-tales. The nice women, with their high-bred lovers, who step so daintily through his pages, to the flutter of perfumed fans and the rustle of fine silks, are as convincing as the palpitantly convincing princesses of Hans Andersen and Grimm; but Feuillet's villains and adventuresses, like the ogres and the witches we never very heartily believe in, are, for the most part, the merest stereotypes of vice and wickedness, always artificial, too often a trifle absurd.

      In Monsieur de Camors, for example, we have an elaborate study of a man who has determined to live by the succinct principle, "Evil, be thou my good" – a succinct enough principle, in all conscience, though Feuillet requires a lengthy chapter and a suicide to enunciate it. The idea, if not original, might, in some hands, lend itself to interesting development; but not so in Feuillet's. From the threshold we feel that he is handicapped by his theme. It hangs round his neck like the mill-stone of the adage; it checks his artistic impulses, obscures his artistic instincts. The quips and cranks, the wreathed smiles, of Feuillet the humourist, were out of place in a stupendous epopee of this sort; so, for the sake of a psychological abstraction, which hasn't even the poor merit of novelty, we must look on ruefully, while our merryman, divested of cap and bells, proses to the end of his four sad hundred pages. There are novelists who must work with an abstraction, who can see their characters and their incidents only as they illustrate an abstraction; and these also achieve their effects and earn their rewards. But Feuillet belongs in a different galley. A handful of human nature, a pleasing countryside, and Paris in the distance – these are his materials. The philosophy and the plot may come as they will, and it really doesn't much matter if they never come at all. To give Feuillet a subject is to attach a chain and ball to his pen. He is never so debonair, so sympathetic, so satisfying a writer, as when he has something just short of nothing to write about.

      In Monsieur de Camors he has a tremendous deal to write about; his subject weighs his pen to the earth. The result is a book that's a monstrosity, and a protagonist who's a monster. Louis de Camors is as truly a monster as any green dragon that ever spat fire or stole king's daughters (though by no means so exciting a monster), and he hasn't even the virtue of being a monster that hangs together. For, while we are asked to think of him as destitute of natural affections, he is at the same time shown to us as the fond idolater of his wife, his wife's mother, and his son. On his son's account, indeed, he goes so far as to spend a long cold night in a damp and uncomfortable wood, only to be dismissed in the morning without the embrace, in the hope of gaining which he has violated his philosophy and taken the chances of rheumatism. Altogether, a man devoid of affections, who loves his son, his wife, and his mother-in-law, may be regarded as doing pretty well. Again (since we are on the chapter of inconsistencies), in that dreary and pompous letter written to Louis by his father, which expounds the text of what becomes the son's rule of conduct, he is gravely charged to fling religion and morality out of the window, but to cherish "honour" as it were his life. "It is clear that a materialist can't be a saint, but he can be a gentleman, and that is something," complacently writes the elder Comte de Camors. Louis, however, though he makes loud acts of faith in this inexpensive gospel, never hesitates to betray his friend, to seduce the wife of his benefactor, nor to marry an unsuspecting child, who loves him, for the sheer purpose of screening an intrigue with "another lady," which he still intends to carry on. Feuillet, perhaps, saves his face by heaping upon this impossible being's head all the punishments that are poetically due to crime, but he doesn't save Monsieur de Camors. It is a dismal volume, uncommonly hard to read. And yet – art will out; and dismal as it is, it presents to us one of Feuillet's most captivating women, Louis de Camors' ingenuous little wife. Listen to her artless pronouncement upon Monsieur's evangel of "honour." "Mon Dieu," she says, "I'm not sure, but it seems to me that honour apart from morality is nothing very great, and that morality apart from religion is nothing at all. It's like a chain: honour hangs in the last link, like a flower; but when the chain is broken, the flower falls with the rest."

      If, however, Feuillet's villains are failures, his adventuresses and bad women are grotesquer failures still. And no wonder. His reluctance to fashion an ugly thing out of material that would, in the natural course of his impressions, suggest to him none but ideas of beauty, is quite enough to account for it. Octave Feuillet is too much a gentleman, too much a preux chevalier, to be able to get any intellectual understanding of a bad woman; the actual operations of a bad woman's soul are things he can get no "realizing sense" of. So he dresses up a marionette, which shall do all the wicked feminine things his game necessitates, which shall plot and poison, wreck the innocent heroine's happiness, attitudinize as a fiend in woman's clothing, and even, at a pinch, die a violent death, but which shall never let us forget that it is stuffed with saw-dust and moved by strings. Madame de Campvallon, Sabine Tallevaut, Mademoiselle Hélouin, even Julia de Trécoeur – the more they change, the more they are the same: sister-puppets, dolls carved from a common parent-block, to be dragged through their appointed careers of improbable naughtiness. You can recognise them at once by their haunting likeness to the proud beauties of the hair-dresser's window. They are always statuesque, always cold, reserved, mysterious, serpentlike, goddesslike – everything, in fine, that bad women of flesh and blood are not. Octave Feuillet, the wit and the man of the world, knows this as well as we do; and knowing it, he tries, by verbal fire-works, to make us forget it. "She charms me – she reminds me of a sorceress," says some one of Sabine Tallevaut.