The Génie du Christianisme, begun during its author's residence in London, was not completed until four years later. In 1801, detaching a fragment from his poetic apology for religion, he published his Atala, ou les Amours de Deux Sauvages dans le Désert. It is a romance, or rather a prose poem, in which the magic of style, the enchantment of descriptive power, the large feeling for nature, the sensibility to human passion, conceal many infirmities of design and of feeling. Chateaubriand suddenly entered into his fame.
On April 18, 1802, the Concordat was celebrated with high solemnities; the Archbishop of Paris received the First Consul within the portals of Notre-Dame. It was the fitting moment for the publication of the Génie du Christianisme. Its value as an argumentative defence of Christianity may not be great; but it was the restoration of religion to art, it contained or implied a new system of æsthetics, it was a glorification of devout sentiment, it was a pompous manifesto of romanticism, it recovered a lost ideal of beauty. From Ronsard to Chénier the aim of art had been to imitate the ancients, while imitating or interpreting life. Let us be national, let us be modern, let us therefore be Christians, declared Chateaubriand, and let us seek for our tradition in the great Christian ages. It was a revolution in art for which he pleaded, and throughout the first half of the nineteenth century the revolution was in active progress.
The episode of René, which was included in the Génie, and afterwards published separately, has been described as a Christianised Werther; its passion is less frank, and even more remote from sanity of feeling, than that of Goethe's novel, but the sadness of the hero is more magnificently posed. A sprightly English lady described Chateaubriand as "wearing his heart in a sling"; he did so during his whole life; and through René we divine the inventor of René carrying his wounded heart, as in the heroine we can discern some features of his sister Lucile. In all his writings his feelings centre in himself: he is a pure egoist through his sensibility; but around his own figure his imagination, marvellous in its expansive power, can deploy boundless perspectives.
Both Atala and René, though brought into connection with the Génie du Christianisme, are in fact more closely related to the prose epic Les Natchez, written early, but held in reserve until the publication of his collected works in 1826-31. Les Natchez, inspired by Chateaubriand's American travels, idealises the life of the Red Indian tribes. The later books, where he escapes from the pseudo-epic manner, have in them the finest spirit of his early years, his splendour and delicacy of description, his wealth of imaginative reverie. Famous as the author of the Génie, Chateaubriand was appointed secretary to the embassy at Rome. The murder of the Duc d'Enghien alienated him from Napoleon. Putting aside the Martyrs, on which he had been engaged, he sought for fresh imagery and local colour to enrich his work, in a pilgrimage to Jerusalem, a record of which was published in his (1811) Itinéraire de Paris à Jerusalem.
The Martyrs appeared in 1809. It was designed as a great example of that art, inspired by Christianity, on behalf of which he had contended in the Génie; the religion of Christ, he would prove, can create passions and types of character better suited for noble imaginative treatment than those of paganism; its supernatural marvels are more than a compensation for the loss of pagan mythology. The time chosen for his epopee in prose is the reign of the persecutor Diocletian; Rome and the provinces of the Empire, Gaul, Egypt, the deserts of the Thebaid, Jerusalem, Sparta, Athens, form only portions of the scene; heaven and hell are open to the reader, but Chateaubriand, whose faith was rather a sentiment than a passion, does not succeed in making his supernatural habitations and personages credible even to the fancy. Far more admirable are many of the terrestrial scenes and narrations, and among these, in particular the story of Eudore.
In the course of the travels which led him to Jerusalem, Chateaubriand had visited Spain, and it was his recollections of the Alhambra that moved him to write, about 1809, the Aventures du Dernier des Abencérages, published many years later. It shows a tendency towards self-restraint, excellent in itself, but not entirely in harmony with his effusive imagination. With this work Chateaubriand's inventive period of authorship closed; the rest of his life was in the main that of a politician. From the position of an unqualified royalist (1814-24) he advanced to that of a liberal, and after 1830 may be described as both royalist and republican. His pamphlet of 1814, De Bonaparte et des Bourbons, was declared by Louis XVIII. to be worth an army to his cause.
In his later years he published an Essai sur la Littérature Anglaise and a translation of "Paradise Lost." But his chief task was the revision of the Mémoires d'Outre-Tombe, an autobiography designed for posthumous publication, and actually issued in the pages of the Presse, through the indiscreet haste of the publishers, while Chateaubriand was still living. Its egotism, its vanity, its malicious wit, its fierce reprisals on those whom the writer regarded as his enemies, its many beauties, its brilliance of style, make it an exposure of all that was worst and much of what was best in his character and genius. Tended by his old friend Mme. Récamier, to whom, if to any one, he was sincerely attached, Chateaubriand died in the summer of 1848. His tomb is on the rocky islet of Grand-Bé, off the coast of Brittany.
Chateaubriand cannot be loved, and his character cannot be admired without grave reserves. But an unique genius, developed at a fortunate time, enabled him to play a most significant part in the history of literature. He was the greatest of landscape painters; he restored to art the sentiment of religion; he interpreted the romantic melancholy of the age. If he posed magnificently, there were native impulses which suggested the pose; and at times, as in the Itinéraire, the pose is entirely forgotten. His range of ideas is not extraordinary; but vision, imagination, and the passion which makes the imaginative power its instrument, were his in a supereminent degree.