The rich man has always material comfort, freedom from daily and hourly anxieties; he is at liberty to go wherever he likes, to do whatever he pleases; he enjoys, if he have the true faculty for enjoyment; he can make himself obeyed, if the obedience be but eye-service; he can surround himself with beautiful objects; and he can freely indulge the luxury of generosity, although it is the one luxury of which the rich are not enamoured, the rich man in general never gives except to see his name in print in the newspapers. The compassion of the Rosnys for the rich is scarcely justified, since their greatest burden is ennui, and this is an artificial kind of suffering due to defective sympathies, as cold feet are due to sluggish circulation. The statement, put in the mouth of Dargelle, that suicide is much more general amongst the rich than the poor, is certainly not based on fact or on statistics. The rich man, moreover, has one great and most precious exemption: he is free from petty, carking bodily cares; he never knows the greatest agony possible, that of seeing those dear to him hungry and homeless; he can be always warm in cold weather, cool in hot weather; in illness he has every palliative and assistance; his home is his own if he care for it, intangible and immutable; the whole world is his if he possess perception enough to enjoy it; his sufferings may be considerable from dyspepsia and discontent, and, if he be of a high nature, from irritation at the ingratitude and insincerity of human nature, but it is absurd to compare his pains with those of the poor—above all, when the poor are of fine temper, sensitive nerve and cultured intellect like the Fougeraye and Lamarque of the Rosnys. It is well to remind society that there are sorrows of the soul from which the rich may suffer more acutely than the poor; but it is to exceed this truth to represent the rich as often suffering from this cause. The rich man is usually a complete egotist, whose philanthropy has a political purpose or a social ambition as its mainspring. A Dargelle may exist, does exist; but he is one in ten millions. He is legitimate in his place as a character in romance, but as a character in real life he is met with but very rarely.
There are many social questions and many philosophic theories discussed in L'Impérieuse Bonté. An unkind critic might say that it is rather a social and philosophic essay than a romance. But in much it conforms to and fulfils the highest demands of fiction, and the naturalness and lovableness of the chief personages lend to it throughout the interest of romance. The mission of Fougeraye in the expenditure of Dargelle's money introduces, perforce, many phases of social misery. It was probably to do this that the book was written; but the harmony and interest of the action of the novel, as a novel, are not sacrificed to this intention. In these chapters all affectation, all artifice drop from the style, and the writers become masters of strong, simple and infinitely touching prose. It is to be regretted that the influence of their time should ever mislead them into tortuous and strained exaggerations and archaisms when it is possible for them to write thus simply and eloquently:—
'The few precious things—the brooch and earrings of Madame Lamarque, even her wedding-ring, alas! then the china service, saved with such effort from the fire, with a little rosewood secrétaire, and two Sèvres vases won at a lottery for charity, the gift to it of the Empress Eugénie—all disappeared, all were devoured by the monster Misery. Georges suffered as much as his parents; his nature was inclined towards the adoration of relics, of frail things, of the semi-vitality of objects.
'It rained a little; in the shadow of the fortifications the lamps trembled under gusts of wind; the reflections touched the wet grass, which seemed for the moment as fresh as the turf of meadows. Everywhere solitude—solitude filled with a sense of near and hidden human life in the closed houses from which came the subdued light of unseen chambers in vague suggestion of mysterious joys. But there was no living creature out of doors except in the openings of the ramparts; on the grass, a dog looking as furtive as a hunting wolf. The boy's eyes gazed at the sky, at the grass, at the long vista of burning lamps, at the grey stony road under his feet. A sense of beauty came into his soul, but a beauty sombre as the psalms of All Saints' Day.
'Beside him his mother carried the mattress which had been sold; he bore one side of it on his shoulder.
'They walk thus, beaten, conquered, the child full of suffocating revolt, the mother humble and resigned, like the meek beasts of the stall, with occasional flickers of wrath soon extinguished. They go thus, saying to each other a few words, muffled and heavyhearted, which are the mere dull echoes of their souls. "We must turn down that street. How will it end?—why does not the family help?" At a corner they stop, and suddenly Georges is overwhelmed with pity for his mother, as he sees her profile wet with rain in the light of the street lamp.
'He gazes at her. He remembers, in his earliest childhood, a time when there had been two servants in their house; when his mother had been a gentlewoman, going out for a walk with his father, while the bonne pushed the little carriage of the baby François. And here she was, his own mother, with a mattress for sale on her shoulder, on foot in the mud at this time of night. "Mamma! mamma! dear little mamma!" he cried, sobbing, without a single selfish thought, caring only for her, so profoundly, so intensely!'
Again, there is the same intense sympathy in the author with the suffering of the spirit when the two Sèvres vases are taken to their new home, sold for twenty francs, the poor, pretty, familiar things which look so elegant, so slender, so aristocratic amongst the coarse, vulgar ornaments of their new owners, that Georges is proud of their superiority amidst the anguish with which he thinks of them, lost for ever:
'Frail penates, saturated with the soul of home. Ah! how many birthday mornings, how many twilights of study, how many long rainy days and gentle suns of springtime, how many dreams of future voyages in far lands, how many nights fearful with storm or mute with falling snow, had these objects seen! They had been always there, fixing themselves inalienably on the retina in their unalterable attitude of delicacy and art: and now they were lost for ever, given over to an alien hand for a coin of gold which would last two days!'
Nothing can be more touching, more sincere, more eloquent than this episode.
Take again the magnificent opening chapter of the fire at which Lamarque contracts the illness which ultimately kills him. It is too long to quote here, but its description is of a force incomparable, and of a truth as great. No one of his contemporaries could have written this chapter; its sobriety and veracity, united to its splendour of diction and its terror of suggestion, make it a magnum opus.
It has only one defect; it gives the reader the impression that it cost great effort to the author. It does not convey that sense of the author's spontaneous fertility and joy in creation which Pierre Loti, François Coppée, Anatole France, feel and give. L'Impérieuse Bonté is a great work, but its greatness must have cost painful thought and unremitting labour.
One feels that there is nothing of improvisation, of careless and happy inspiration, about it. It is the matured fruit of profound observation, and of complicated doubt, of an unselfish sorrow, and of a noble altruism. It is a work which must impress and elevate all readers who are capable of comprehending its teaching. But there is no laughter in it, nor is there even a smile, save that sad divine smile which accompanies the tears of pity.