Old and New Paris: Its History, Its People, and Its Places, v. 2

by H. Sutherland Edwards

Let us pass, however, to a writer enjoying far more celebrity than either the graceful poet Hégésippe Moreau or the grotesque historiographer, Father Loriquet. It was probably from his English mother that Sainte-Beuve derived that taste for certain English poets, with Cowper, Wordsworth, and Shelley among them, whom he attempted to imitate in his earliest flights. His mother, having been left a widow, sent him for preliminary study to the College of Boulogne, his native town; afterwards transferring him, for the completion of his general education, to Paris. At length he commenced the study of medicine, urged by his mother, who is said to have distrusted the literary[{252}] aspirations which her son had already manifested. But after waiting for a year as assistant-physician at the hospital of Saint-Louis, he felt that he had missed his true vocation, and, without completely abandoning medicine, wrote a series of historical, philosophical, and critical articles for the Globe, directed at that time by M. Dubois, formerly one of his professors. Sainte-Beuve was then living in the Rue de Vaugirard, a few doors from the house inhabited by Victor Hugo; and when the latter changed his abode and installed himself in the Rue Notre-Dame-des-Champs, accident once more threw Sainte-Beuve within easy distance of the poet. Community of literary taste produced an intimate acquaintance between the neighbours, and Sainte-Beuve took part in the new intellectual movement of which Victor Hugo and Alexander Dumas were the originators and chiefs. The New School, breaking from classical traditions, turned back its attention to the sixteenth century, and to a group of writers greatly obscured by the literary lustre of the two centuries which followed. Sainte-Beuve set himself to study Ronsard and Du Bellay; and in due time he had an opportunity of showing that he had not studied them in vain. The Academy having, in 1827, proposed as the subject of its Prize for Eloquence a “Picture of French Poetry in the Sixteenth Century,” Daunou persuaded the critic of the Globe to compete, and placed at the young man’s disposition his own rich library. Sainte-Beuve’s essay did not gain the prize. But it was published by its author, who printed with it an edition of the “Selected Works” of Ronsard; and the work, which the Academy had rejected, took rank ultimately as the first authority on the period of French literature with which it deals.

Whilst throwing himself into romanticism Sainte-Beuve was not blind to the defects of the New School, though he could not himself, as poet, avoid the very faults against which he had warned others. In reference to Victor Hugo’s “Odes and Ballads” he wrote as follows: “M. Hugo’s first inspiration is invariably true and profound; the whole mischief arises from extravagant similes, frequent digressions, and over-refinement of analysis.... There are forced metaphors, moreover, improprieties of language, ellipses in the series of ideas, and prosaic passages in the midst of the most dazzling poetry.” Victor Hugo was naturally not delighted with this criticism. But he encouraged the critic, and persuaded him to publish his “Poésiés de Joseph Delorme,” of which Sainte-Beuve had read him some specimens. Having once taken up with romanticism, Sainte-Beuve went at least as far as his master, and committed precisely those faults which he had censured; for eccentric lines, prosaic phrases, and outrageous metaphors abound in his collection, although these eccentricities, far from injuring the volume, seem to have caused its success. People who liked everything that was odd or audacious read the book, and praised it for faults at which scholars would knit their brows.

The Revolution of 1830 opened a new sphere of activity to Sainte-Beuve. Hitherto he had occupied himself little with politics; but now he plied his pen freely in the Globe as a supporter of those principles of humanitarianism so strongly championed by Pierre Leroux, who had become director of the journal in question. Subsequently he undertook a political campaign in the National with Armand Carrel. In his various writings, both in and out of the newspapers, he showed himself inconstant to any fixed principles. His whole life, in fact, was composed of intellectual changes and variations. These, however, were simply the outcome of a mind curious to fathom all kinds of ideas, to penetrate within them, in order to extract from them their sap or their honey. Approaching the teachers in order to appreciate them as well as their doctrines, he made himself their pupil, sat at their feet, and quitted them as soon as he had completed his analysis. He himself was quite conscious of this tendency, and confessed that even when he entered Victor Hugo’s school of romanticism he only assumed as much of that enthusiasm as might be expected to characterise a devotee. If, however, he was on this, and on other similar occasions, consciously insincere, his fault is largely redeemed by the genuine ardour with which he played the neophyte at each fresh initiation; by the respect which he always entertained for his masters, even after he had changed them; and by the universality of the knowledge which he derived from these studies, pursued, as they were, in a spirit of adventure or of intellectual speculation. He sketches his own character admirably in some advice which he gave to a young man in 1864; nor is it difficult to see that he was consciously proposing himself as an example: “Seek the most noble friendships,” he wrote, “and bring to them the benevolence and sincerity of an open soul, desirous, above all things, of admiring; pour into criticism—emulous sister of your poetry—your ardour, sympathy, and all that is purest in your nature; eulogise, lay your eloquence at the service of new talents, usually so[{253}] much contested and combated, and do not forsake them until the day when they withdraw themselves from the right path and falsify their promises: after that treat them with reserve. Incessantly vary your studies, cultivate your mind in every direction; do not narrow yourself to one party, one school, or one idea; let it see the dawn break on every horizon; maintain your independence and your dignity; lend yourself for a time, if necessary, but do not give yourself away. Remain judicious and clear-sighted even in your weaker moments; and even if you do not say the whole truth, never utter what is false. Never allow fatigue to lay a hold upon you; never feel that you have attained your goal. At the age when others are reposing or relaxing themselves, redouble your courage and ardour; recommence like a novice, run your career a second time, renew yourself.” Such was precisely the course which Sainte-Beuve himself followed. When he wrote the above lines he was reviewing his own life.

THE MONTPARNASSE STATION.

Votary of romanticism as he had been, Sainte-Beuve adopted on one occasion a course which many would have considered the reverse of romantic. Challenged to a duel by M. Lecaze for words which he had uttered in the Senate, he replied that he would fight his adversary with no other weapon than that with which they were both familiar—the pen.

The death of Sainte-Beuve was preceded by cruel bodily tortures, and, as he saw his end approaching, he took precautions to keep the priests away from his bedside, and to divest his interment of all solemnity. By his testamentary wishes none of the associations to which he belonged, neither the Academy nor the Senate, was to be represented at his funeral; and no oration was to be pronounced over his tomb. “Finally,” he added, “I wish to be carried straight from my home to the cemetery of Montparnasse, and to be placed in the vault where my mother lies, without passing through the church, which I could not do without violating my sentiments.” His dying directions were obeyed to the letter.[{254}]

CHAPTER XXXVI.
SPORTS AND DIVERSIONS.

Le “Sport”—Longchamps—Versailles Races—Fontainebleau—The Seine—Swimming Baths—The Art of Book-collecting.