So it is that in all the characters of Anatole France's work which are not closely modelled upon his own idiosyncrasy there is something of the marionette. They are not the less charming for that; nor do they lack a certain logic, but it is not the logic of personality. They are embodied comments upon life, but they do not live. And there is for Anatole France, while he creates them, and for us, while we read about them, no reason why they should live. For living, in the accepted sense, is an activity impossible without indulging many illusions; and fervently to sympathise with characters engaged in the activity demands that their author should participate in the illusions. He, too, must be surprised at the disaster which he himself has proved inevitable. It is not enough that he should pity them; he must share in their effort, and be discomfited at their discomfiture.
Such exercises of the soul are impossible to a real acquiescence, which cannot even permit itself the inspiration of the final illusion that the wreck of human hopes, being ordained, is beautiful. The man who acquiesces is condemned to stand apart and contemplate a puppet-show with which he can never really sympathise.
'De toutes les définitions de l'homme la plus mauvaise me paraît celle qui en fait un animal raisonnable. Je ne me vante pas excessivement en me donnant pour doué de plus de raison que la plupart de ceux de mes semblables que j'ai vus de près ou dont j'ai connu l'histoire. La raison habite rarement les âmes communes, et bien plus rarement encore les grands esprits…. J'appelle raisonnable celui qui accorde sa raison particulière avec la raison universelle, de manière à n'être jamais trop surpris de ce qui arrive et à s'y accommoder tant bien que mal; j'appelle raisonnable celui qui, observant le désordre de la nature et la folie humaine, ne s'obstine point à y voir de l'ordre et de la sagesse; j'appelle raisonnable enfin celui qui ne s'efforce pas de l'être.'
The chasm between living and being wise (which is to be raisonnable) is manifest. The condition of living is to be perpetually surprised, incessantly indignant or exultant, at what happens. To bridge the chasm there is for the wise man only one way. He must cast back in his memory to the time when he, too, was surprised and indignant. No man is, after all, born wise, though he may be born with an instinct for wisdom. Thus Anatole France touches us most nearly when he describes his childhood. The innocent, wayward, positive, romantic little Pierre Nozière[4] is a human being to a degree to which no other figures in the master's comedy of unreason are. And it is evident that Anatole France himself finds him by far the most attractive of them all. He can almost persuade himself, at moments, that he still is the child he was, as in the exquisite story of how, when he had been to a truly royal chocolate shop, he attempted to reproduce its splendours in play. At one point his invention and his memory failed him, and he turned to his mother to ask: 'Est-ce celui qui vend ou celui qui achète qui donne de l'argent?'
'Je ne devais jamais connaître le prix de l'argent. Tel j'étais à trois ans ou trois ans et demi dans le cabinet tapissé de boutons de roses, tel je restai jusqu'à la vieillesse, qui m'est légère, comme elle l'est à toutes les âmes exemptes d'avarice et d'orgueil. Non, maman, je n'ai jamais connu le prix de l'argent. Je ne le connais pas encore, ou plutôt je le connais trop bien.'
[Footnote 4: Le Petit Pierre. Par Anatole France. (Paris:
Calmann-Lévy.)]
To know a thing too well is by worlds removed from not to know it at all, and Anatole France does not elsewhere similarly attempt to indulge the illusion of unbroken innocence. He who refused to put a mark of interrogation after 'What is God,' in defiance of his mother, because he knew, now has to restrain himself from putting one after everything he writes or thinks. 'Ma pauvre mère, si elle vivait, me dirait peut-être que maintenant j'en mets trop.' Yes, Anatole France is wise, and far removed from childish follies. And, perhaps, it is precisely because of his wisdom that he can so exactly discern the enchantment of his childhood. So few men grow up. The majority remain hobbledehoys throughout life; all the disabilities and none of the unique capacities of childhood remain. There are a few who, in spite of all experience, retain both; they are the poets and the grands esprits. There are fewer still who learn utterly to renounce childish things; and they are the wise men.
'Je suis une autre personne que l'enfant dont je parle. Nous n'avons plus en commun, lui et moi, un atome de substance ni de pensée. Maintenant qu'il m'est devenu tout à fait étranger, je puis en sa compagnie me distraire de la mienne. Je l'aime, moi qui ne m'aime ni ne me haïs. Il m'est doux de vivre en pensée les jours qu'il vivait et je souffre de respirer l'air du temps où nous sommes.'
Not otherwise is it with us and Anatole France. We may have little in common with his thought—the community we often imagine comes of self-deception—but it is sweet for us to inhabit his mind for a while. His touch is potent to soothe our fitful fevers.