Having to choose a remnant, I have taken those who, instead of continuing the traditions of the Nineteenth Century, have said a new thing, boldly differing, starting forth on a fresh career of their own. I have ‘plumped’ for the daring apostles of Life, those who cultivate movement and liberty rather than Art; freedom of rhythm rather than classic determinism and classic constraint; all those whose method tends to the condition of music, who say with the Abbess Hildegard (and with Bergson), ‘Symphonialis est anima.’ Such authors as these are emphatically of the youth of the world, and the most difficult for a foreign public to distinguish.
My readers will probably find most of these names new; they may even be disappointed at not meeting with those more illustrious spirits with whom for five-and-twenty years they have been familiar: Pierre Loti, Paul Bourget, Anatole France. These great writers still shed on the Twentieth Century the lustre its predecessor brought them; but they are the glorious past, and our concern is with the future. These younger men are the French equivalents to our Wells, and Galsworthy, and Hewlett, our Granville, Barker, our Synge, and Yeats, our Masefield and our Joseph Conrad, nay, even our Compton Mackenzie and our Lascelles Abercrombie. And my task is rendered more difficult by the fact that France is a twy-creature, of double nature, a sort of two-headed eagle or Rosa-Josepha among nations.
There is, I believe, one of the South American republics which possesses a couple of capitals: one to be used when the Liberals are in power, and one for the Conservatives. France also has a double set of everything, including celebrities: those admired by the bien-pensant, and those peculiar to the intellectuels. You may be illustrious in one group and barely heard of in the other. Those who adore Anatole France and praise Romain Rolland smile sarcastic at the name of Barrès, and have never opened a book by Paul Claudel. And, of course, it is the same the other way round—only more so.
I have done my best to hold the balance even: to group on the Right my seemly sheep, and on the Left my free-ranging goats, in flocks of approximate number, setting Boylesve over against Jules Renard, and Francis Jammes in front of Charles-Louis Philippe. If my reader discover that which all have in common, I think he may have a fair idea of the trend and the thrust of the spirit of the age—at least, so far as it is manifest in fiction, in poetry, and in the more literary drama, that ‘spectacle dans un fauteuil’ which may or may not be a spectacle for the stage.
What I have not shown him—to my real regret, to my recurrent remorse—is the world of the critics, the intellectual flower of France. I am not speaking of the reviewers; but of critics in the sense that Carlyle, Matthew Arnold, Taine, Renan were critics—the moralists, the biographers, the portrait-painters of a soul, an epoch, or a race. In France what branch of literature is more important than such criticism? Who has more charm than Suarès, with his imaginative and morbid studies of great souls? Who forms the mind of a generation more plastically than the brilliant and perspicacious André Chevrillon? Who interprets human nature more intimately than André Gide, or the acute and icy Julien Benda, or the romantic and religious Fortunat Strowski, the historian of Pascal; or the humane and sensitive Daniel Halévy, with his passionate Nietzsche, his strong and suffering Proudhon? These, perhaps, occupy less space in the booksellers’ windows than our novelists and poets, but they are factors as considerable in the education of a race. I salute them, even as, perforce, I pass them by. Perhaps another year I may reserve another book for them.
Mary Duclaux.
AFTERWORDS-AFTERWARDS
In August, 1914, this little book was already in the printer’s hands, the last revise corrected, the ‘paste-up’ prepared, ready to appear in the autumn, when certain events, which we all remember, happened with the suddenness of a thunderclap. The season was not favourable to the production of books, and for nearly five years neither author nor publisher gave the volume a thought. The Twentieth Century writer was elbowed out of the field by the Twentieth Century fighter. Alas, too often the one has been buried in the grave of the other, and the young man of letters whose fame and fortune we were announcing has fallen into nameless dust, or lies hidden under one of these innumerable slim gray crosses that spring, like some strange new harvest, on the low hills round Verdun, or along the valleys of the Marne and the Somme.
When, in the Spring of 1919, Messrs Collins returned me my old revise for a last glance ere it finally went to press, I gazed in consternation at the pages which had seemed so reasonable five years ago. Five years? Let us say ten years! ‘Les années de campagne comptent double.’ It was like opening an old bundle of photographs after a great lapse of time—the same mixture of melancholy, and a sort of sad amusement. Look at this absurd youth! Who could have supposed that he would become so famous? And that brilliant creature, dead now, and already half-forgotten. So-and-so, at least, has developed along the lines that we laid down and has turned out just the successful and useful servant of civilisation that we imagined.
In our case, So-and-so is Barrès. He has become all that we thought he might become. Public life and the patriotic duty have absorbed him more and more; he has been to the France of 1914-19 something of that which Lamartine was in 1848. He, more than any, has preached the need of union—‘L’Union sacrée,’ bringing into public affairs a largeness of outlook and sweetness of temper rare in politics,—especially in France. Few of these eloquent pages which day by day he has contributed to the Echo de Paris will remain as works of literature, but, piled up, no longer read, in their accumulation they form a pedestal which certainly heightens the moral importance of the man. Here at least we have the satisfaction of finding our analysis exact. More and more, in these days of storm and stress, Barrès has ‘felt the need of merging himself in something larger and more durable than any individual existence’; ‘no longer the singular, the extraordinary attracts him;’ he finds something pleasant and satisfying in the alliance of courage and the spirit of adventure, ‘with a certain soldierly mediocrity of mind’—and all the more when their conjunction ‘promises the conquest of Alsace-Lorraine.’ Above all, he has given himself heart and soul to ‘the creation of a truly National Party, capable of bringing out of chaos a new organic order.’ Shall we not say of him that, like his heroine, Colette, ‘Il se sent chargé d’une grande dignité, soulevé vers quelquechose de plus vaste, de plus haut, et de plus constant que sa personne’?