The George Sand-Gustave Flaubert Letters. Gustave Flaubert

return, he must endeavor to avoid them; but if he has drunk the cup of the eternally true, he does not get too excited for or against the ephemeral and relative truth."

      The second passage is of June 21:

      "I love everything that makes up a milieu, the rolling of the carriages and the noise of the workmen in Paris, the cries of a thousand birds in the country, the movement of the ships on the waters. I love also absolute, profound silence, and, in short, I love everything that is around me, no matter where I am."

      The last passage gives a glimpse of the seventeenth of January, 1869, a typical day in Nohant:

      "The individual named George Sand is well: he is enjoying the marvellous winter which reigns in Berry, gathering flowers, noting interesting botanical anomalies, making dresses and mantles for his daughter-in-law, costumes for the marionettes, cutting out scenery, dressing dolls, reading music, but above all spending hours with the little Aurore, who is a marvellous child. There is not a more tranquil or a happier individual in his domestic life than this old troubadour retired from business, who sings from time to time his little song to the moon, without caring much whether he sings well or ill, provided he sings the motif that runs in his head, and who, the rest of the time, idles deliciously… This pale character has the great pleasure of loving you with all his heart, and of not passing a day without thinking of the other old troubadour, confined in his solitude of a frenzied artist, disdainful of all the pleasures of the world."

      Flaubert did "exercise" a little – once or twice – in compliance with the injunctions of his "dear master"; but he rather resented the implication that his pessimism was personal, that it had any particular connection with his peculiar temperament or habits. He wished to think of himself as a stoic, quite indifferent about his "carcase." His briefer black moods he might acknowledge had transitory causes. But his general and abiding conceptions of humanity were the result of dispassionate reflections. "You think," he cries in half-sportive pique, "that because I pass my life trying to make harmonious phrases, in avoiding assonances, that I too have not my little judgments on the things of this world? Alas! Yes! and moreover I shall burst, enraged at not expressing them." And later: "Yes, I am susceptible to disinterested angers, and I love you all the more for loving me for that. Stupidity and injustice make me roar, – and I howl in my corner against a lot of things 'that do not concern me.'" "On the day that I am no longer in a rage, I shall fall flat as the marionette from which one withdraws the support of the stick."

      So far as Flaubert's pessimism has an intellectual basis, it rests upon his researches in human history. For Salammbo and The Temptation of St. Anthony he ransacked ancient literature, devoured religions and mythologies, and saturated himself in the works of the Church Fathers. In order to get up the background of his Education Sentimentale he studied the Revolution of 1848 and its roots in the Revolution of 1789. He found, shall we say? what he was looking for-inexhaustible proofs of the cruelty and stupidity of men. After "gulping" down the six volumes of Buchez and Roux, he declares: "The clearest thing I got out of them is an immense disgust for the French… Not a liberal idea which has not been unpopular, not a just thing that has not caused scandal, not a great man who has not been mobbed or knifed. 'The history of the human mind is the history of human folly,' as says M. Voltaire. … Neo-Catholicism on the one hand, and Socialism on the other, have stultified France." In another letter of the same Period and similar provocation: "However much you fatten human cattle, giving them straw as high as their bellies, and even gilding their stable, they will remain brutes, no matter what one says. All the advance that one can hope for, is to make the brute a little less wicked. But as for elevating the ideas of the mass, giving it a larger and therefore a less human conception of God, I have my doubts."

      In addition to the charges of violence and cruelty, which he brought against all antiquity as well as against modern times, much in the fashion of Swift or the older Mark Twain, Flaubert nursed four grave causes of indignation, made four major charges of folly against modern "Christian" civilization. In religion, we have substituted for Justice the doctrine of Grace. In our sociological considerations we act no longer with discrimination but upon a principle of universal sympathy. In the field of art and literature we have abandoned criticism and research for the Beautiful in favor of universal puffery. In politics we have nullified intelligence and renounced leadership to embrace universal suffrage, which is the last disgrace of the human spirit.

      It must be acknowledged that Flaubert's arraignment of modern society possesses the characteristics commended by the late Barett Wendell: it is marked in a high degree by "unity, mass, and coherence." It must be admitted also that George Sand possessed in a high degree the Pauline virtue of being "not easily provoked," or she never could have endured so patiently, so sweetly, Flaubert's reiterated and increasingly ferocious assaults upon her own master passion, her ruling principle. George Sand was one whose entire life signally attested the power of a "saving grace," resident in the creative and recuperative energies of nature, resident in the magical, the miracle-working, powers of the human heart, the powers of love and sympathy. She was a modern spiritual adventurer who had escaped unscathed from all the anathemas of the old theology; and she abounded, like St. Francis, in her sense of the new dispensation and in her benedictive exuberance towards all the creatures of God, including not merely sun, moon, and stars and her sister the lamb but also her brother the wolf. On this principle she loves Flaubert! – and archly asserts her arch-heresy in his teeth. He complains that her fundamental defect is that she doesn't know how to "hate." She replies, with a point that seems never really to have pierced his thick casing of masculine egotism:

      "Artists are spoiled children and the best are great egotists. You say that I love them too well; I like them as I like the woods and the fields, everything, everyone that I know a little and that I study continually. I make my life in the midst of all that, and as I like my life, I like all that nourishes it and renews it. They do me a lot of ill turns which I see, but which I no longer feel. I know that there are thorns in the hedges, but that does not prevent me from putting out my hands and finding flowers there. If all are not beautiful, all are interesting. The day you took me to the Abbey of Saint-Georges I found the scrofularia borealis, a very rare plant in France. I was enchanted; there was much – in the neighborhood where I gathered it. Such is life!

      "And if one does not take life like that, one cannot take it in any way, and then how can one endure it? I find it amusing and interesting, and since I accept EVERYTHING, I am so much happier and more enthusiastic when I meet the beautiful and the good. If I did not have a great knowledge of the species, I should not have quickly understood you, or known you or loved you."

      Two years later the principles and tempers of both these philosophers were put to their severest trial. In 1870, George Sand had opportunity to apply her doctrine of universal acceptance to the Prussians in Paris. Flaubert had opportunity to welcome scientific organization in the Prussian occupation of his own home at Croisset. The first reaction of both was a quite simple consternation and rage, in which Flaubert cries, "The hopeless barbarism of humanity fills me with a black melancholy," and George Sand, for the moment assenting, rejoins: "Men are ferocious and conceited brutes." As the war thickens around him and the wakened militancy of his compatriots presses him hard, Flaubert becomes more and more depressed; he forebodes a general collapse of civilization – before the century passes, a conflict of races, "in which several millions of men kill one another in one engagement." With the curiously vengeful satisfaction which mortals take in their own misery when it offers occasion to cry "I told you so," he exclaims: "Behold then, the NATURAL MAN. Make theories now! Boast the progress, the enlightenment and the good sense of the masses, and the gentleness of the French people! I assure you that anyone here who ventured to preach peace would get himself murdered."

      George Sand in her fields at Nohant – not "above" but a little aside from the conflict – turns instinctively to her peasant doggedly, placidly, sticking at his plow; turns to her peasant with a kind of intuition that he is a symbol of faith, that he holds the keys to a consolation, which the rest of us blindly grope for: "He is imbecile, people say; no, he is a child in prosperity, a man in disaster, more of a man than we who complain; he says nothing, and while people are killing, he is sowing, repairing continually on one side what they are destroying on the other." Flaubert, who thinks that he has no "illusions" about peasants or the "average man," brings forward his own specific of a quite different nature: "Do you think that if France,