A Short History of French Literature

by George Saintsbury

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.

Saint Evremond[267], who was thirteen years Pascal's senior, and who outlived him by more than forty years, was, in almost every respect except intellectual vigour and literary faculty, his opposite. He was a Norman by birth (Charles de Marguetel de Saint Denis was his proper name), and was born in 1610. He was educated by the Jesuits, entered the army early, served through the later campaigns of the Thirty Years' War and in the Fronde, was a favourite of Condé's but fell into disgrace with him, and after the fall of Fouquet, which led to the discovery of his very able and very uncourtly letter on the Peace of the Pyrenees, also incurred the king's displeasure. This displeasure is said to have been aggravated by his notorious membership of the freethinking and materialist school which Gassendi, if he had not founded it, had helped to spread. Saint Evremond was practically if not formally banished, and the time of his misfortune coinciding pretty nearly with the Restoration in England, he made his way thither, was well received by the king and his courtiers, many of whom he had known in their exile, and dwelt in London for almost the whole remainder of his long life. He died in 1703, and was buried in Westminster Abbey. His works are almost entirely occasional, consisting of 'conversations,' letters, 'portraits,' short literary disquisitions and tractates on subjects of historical and ethical interest. They display a placid epicurean philosophy which in its indifference to the assaults of fortune is not destitute of nobility, an extraordinary catholicity and acuteness of literary judgment, and remarkable wit and finesse. The Conversation du Père Canaye, which is of the same date as the Provinciales, is worthy of Pascal for its irony, and possesses a certain air of being written by a 'person of quality,' which Saint Evremond could throw over his writings better almost than any one else. His Portraits, not always flattering, are full of nervous vigour. But his literary remarks are perhaps the most surprising of his works. At a time when English literature was almost unknown in France, and when Boileau ostentatiously pretended never to have heard of Dryden, Saint Evremond, perhaps with some assistance from his friend Waller, drew up some masterly remarks on the humour-comedy of the Jonson school. His criticisms of French plays, as compared with classical tragedy and comedy, are also full of pregnant thought; and some comparative studies of his on Corneille and Racine show a power of detachment and independence which may be due in some part to the cosmopolitanism given by residence abroad, but which is certainly due also to native power. From the point of view of literary history, however, Saint Evremond is perhaps most remarkable as having formed, in conjunction with Pascal and Bayle, a singular trio, which supplied Voltaire with the models[268] whence he drew his peculiar style of persiflage. As far as form is concerned, it may be fairly said that Saint Evremond was the most influential of the three. Like many other men of his time he rarely published anything in the ordinary way, and it was not till very late in life that he empowered Desmaizeaux to issue an authorised edition of work that had either circulated in manuscript or been piratically printed.

La Rochefoucauld.

François de Marcillac[269], Duke de la Rochefoucauld, was born in 1613 of one of the noblest families of France. His father had just been created duke and peer, the highest honour possible to a French subject, and for many years the son was known under the title of Prince de Marcillac. He was very imperfectly educated, but was early sent to serve in the army and introduced to the court. Young as he was, he was deeply engaged in the various intrigues against Richelieu, chiefly in consequence of his affection for the celebrated Madame de Chevreuse. After Richelieu's death and the comparative effacement of Madame de Chevreuse, he transferred his affections to Madame de Longueville and his aversion to Mazarin. He was one of the chiefs of the Princes' party, and fought all through the Fronde, winning a reputation, not so much for military skill as for the most reckless bravery. The establishment of the royal authority first sent him into retirement, and then reduced him to the position of an ordinary courtier. This last period of his life was distinguished by a third attachment to a lady hardly less celebrated than either of his former loves, Madame de la Fayette, the author of La Princesse de Clèves, in which novel he is said to figure under another name. He was also an intimate friend of Madame de Sévigné. In the latter part of his life he suffered terribly from gout, and died of that disease in 1680.

His Memoirs have been already noticed. The more famous and far more remarkable Maxims were published shortly afterwards, and at once attained a wide popularity. The first edition appeared in 1665, and four others were published, with considerable alterations and additions, during the author's lifetime, in 1666, 1671, 1675, and 1678. After his death a sixth edition was published by Claude Barbin, containing fifty new maxims, the authenticity of which is uncertain but probable.

The fullest authoritative edition of La Rochefoucauld's Maxims contains 504 separate paragraphs, to which, besides the fifty just noticed, about another fifty can be added by restoring those which the author suppressed during his lifetime. The last, which is avowedly a kind of appendix, and on a different plan from the others, extends to a couple of pages. But the average length of the remainder is not more than three or four lines, and many do not contain more than a dozen words. The art of compressing thought and then pointedly expressing it has never been pushed so far except by Joubert, and hardly even by him. All La Rochefoucauld's maxims, without exception, are on ethical subjects, and with a certain allowance they may be said to be generally concerned with the reduction of the motives and conduct of men to the single principle of self-love. In consequence, accusations of misanthropy, of unfairness, of short-sightedness, have been showered upon the author by those who do not like a spade to be called a spade. We have nothing to do with the moral side of the matter here, and it is sufficient to say that La Rochefoucauld is not an advocate of the selfish or any other school of moralists. He is simply an observer, setting down with the utmost literary skill the results of a long life of unusual experience in business and pleasure of every kind. He is a man of science who has got together a large collection of facts, and who expounds and arranges them on a certain coherent and sufficient hypothesis. As a work of literary art the result of his exposition is unrivalled. The whole of the Maxims, even with the doubtful or rejected ones, need not occupy more than a hundred pages, and they contain matter which in the hands of an ordinary writer would have filled a dozen volumes. Yet there is no undue compression. It is impossible ever to mistake the meaning, though the comprehension of the full application of that meaning depends, of course, on the intellectual equipment and social experience of the reader. The clearness with which Descartes had first endowed French is here displayed in its very highest degree. The style, as was unavoidable in work of the kind, is entirely devoid of ornament. Imagery is wholly absent, and though metaphorical expressions abound, they are of the plainest and simplest kind of metaphor. The philosophical language of the day is present, but in no very prominent measure. The motto of the book (at least in the fourth and fifth editions), 'Nos vertus ne sont le plus souvent que des vices déguisés,' is a very fair example of the simple straightforward fashion of La Rochefoucauld's style. Sometimes, but rarely, the author explains his meaning, and slightly lengthens his phrase by repeating the sentiment in a somewhat different form, as thus, 'Le plaisir de l'amour est d'aimer, et l'on est plus heureux par la passion qu'on a que par celle que l'on donne.' But even here it is to be observed that the explanation is in a manner necessary to take off the air of sententious enigma, which the words 'le plaisir de l'amour est d'aimer' might have had by themselves. La Rochefoucauld is never enigmatical, rarely sententious merely, and is almost indifferent to the production of mots. How continually the study of brevity, combined with precision, occupied the author, and how severe he was on any exuberance, can be seen very instructively in the successive alterations of his work. Thus, in the first edition Maxim 295 ran, 'La jeunesse est une ivresse continuelle, c'est la fièvre de la santé, c'est la folie de la raison;' but La Rochefoucauld seems to have thought this unduly pleonastic, and it appears later as 'La jeunesse est une ivresse continuelle, c'est la fièvre de la raison,' the improvement of which in point and freshness is sufficiently obvious. The result of this process is that the best of these Maxims are absolutely unrivalled in their own peculiar style, and that all subsequent writers in the same style have taken their form as a model. French critics have, as a rule, rather under-than over-estimated the purely literary talent of La Rochefoucauld. But this is due to two causes: first, to the supposed antagonism of his spirit to conventional morality; secondly, to the fact that he somewhat anticipated the writers of the particular period which for a century and a half was the idol of academic criticism. His language is rather that of Louis XIII. than of Louis XIV., and in his words and phrases there is a certain archaism, not to say an occasional irregularity, which critics who look only at the stop-watch apparently find it hard to forgive.

La Bruyère.

These critics generally give the palm of style, as concerns writing of this kind, to Jean de la Bruyère[270]. Less is known of the personal history of this author than of that of any contemporary writer of great eminence. He was born at Paris, in August 1645, and his family appears to have been anciently connected with the law. He must have been a man of some means and of good education, for he had just bought himself an important financial post at Caen, when, on the recommendation of Bossuet, he was appointed Historical Preceptor to Duke Louis of Bourbon, the grandson of Condé, in whose household he continued till his death in 1696. He had published his Caractères in 1687, and was elected to the Academy in 1693.

The works of La Bruyère consist of the Caractères just mentioned, of a translation of Theophrastus, of a few literary discourses, and (probably) of some chapters on Quietism, written on the side of his patron Bossuet during the great controversy with Fénelon, but not published till after the author's death. The Caractères alone are of much importance or interest.

The design of this curious and celebrated book is taken, like its title, from Theophrastus, but the plan is very much altered as well as extended. Instead of copying directly the abstract qualities of Theophrastus and his brief, pregnant, but somewhat artificial and jejune description of them, La Bruyère adopted a scheme much better suited to his own age. He took for the most part actual living people, well known to all his readers, and, disguising them thinly under names of the kind which the romances of the middle of the century had rendered fashionable, made them body forth the characters he wished to define and satirise. These portraits he inserted in a framework not altogether unlike that of the Montaigne essay, preserving no very consecutive plan, but passing from moral reflection to literary criticism, and from literary criticism to one of the half-personal, half-moralising portraits just mentioned, with remarkable ease and skill. The titles of his chapters are rather more indicative of their actual contents than those of Montaigne's essays, but they represent, for the most part, merely very elastic frames, in which the author's various observations and reflections are mounted. The result of this variety, not to say desultoriness, combined as it is with the display of very great literary art, is that La Bruyère's is a book of almost unparalleled interest to take up and lay down at odd moments. Its apparently continuous form and its intermixture of narrative save it from the appearance of severity which the avowed Maxim or Pensée has; while the bond between the different chapters, and even the different paragraphs, is so slight that interruption is not felt to be annoying. Even now, when the zest of personal malice, which, as Malézieux remarked to the author, made him sure beforehand of 'plenty of readers and plenty of enemies,' is past, it is a most interesting book to read; and it is especially interesting to Englishmen, because there is no doubt that the English essayists of the Queen Anne school directly modelled themselves upon it.