Taken as a whole it may be considered as a psychological study of a young girl's heart, as viewed by herself in maturer years. I am half inclined to say the heart of a coquette, for Marianne has much of the coquette in her nature, but she has, too, the nobler qualities of heart and mind. She is an epitome, in short, of the feminine side of Marivaux.
One of the chief faults of the author's style is apparent in Marianne to a degree unparalleled by most of his other writings, and that is the fault of over-elaborate description or definition. His subtle mind could perceive so many delicate shades of character, which the less cultivated eye could not detect, that, by elaborating thereupon and endeavoring to disclose to others what he saw, he seemed to overdefine, or even to repeat himself, and sometimes became monotonous. His was the delicate ear of the musical prodigy, capable of grasping half-tones quite beyond the range of the normal ear, and his attempt to cause them to be heard and appreciated by his coarser fellows brought him only criticism and abuse. He realized at times his own powerlessness to convey in words all that he felt, and once said: "On ne saurait rendre en entier ce que sont les personnes; du moins cela ne me serait pas possible; je connais bien mieux celles avec qui je vis, que je ne les définirais; il y a des choses en elles que je ne saisis point assez pour les dire, et que je n'aperçois que pour moi, et non pas pour les autres: ou, si je les disais je les dirais mal: ce sont des objets de sentiment si compliqués, et d'une netteté si délicate, qu'ils se brouillent dès que ma réflexion s'en mêle; je ne sais plus par où les prendre pour les exprimer; de sorte qu'ils sont en moi et non pas à moi. N'êtes-vous pas de même? Il me semble que mon âme, en mille occasions, en sait plus qu'elle n'en peut dire, et qu'elle a un esprit à part, qui est bien supérieur à celui que j'ai d'ordinaire. Je crois aussi que les hommes sont bien au-dessus de tous les livres qu'ils font."[89]
It was with great difficulty that Marivaux could prevail upon himself to draw a description or a reflection to an end, feeling, as he did, that there was always something left unsaid. His struggle with himself and his apology to the reader are sometimes quite amusing in their naïveté. "Me voilà au bout de ma réflexion," he says: "j'aurais pourtant grande envie d'y ajouter quelques mots pour la rendre complète: le voulez-vous bien? Oui, je vous en prie. Heureusement que mon défaut là-dessus n'a rien de nouveau pour vous. Je suis insupportable avec mes réflexions, vous le savez bien."[90]
The success that greeted Marianne was calculated to make his rivals in the field of fiction jealous. Perhaps no one felt more keenly than did Crébillon fils the growing popularity of a novel the purity of which but enhanced the obscenity of his own writings. To this feeling may be attributed his attack upon Marivaux's style in a very free and tiresome story, entitled Tanzaï et Néadarné, ou l'Écumoire, in which his rival's muse is represented as a mole. The mole relates her life, in a most diffuse and wearisome manner, constantly interrupting the story with reflections and digressions. The imitation was so clever that it deceived even Marivaux himself into thinking that a justification of his style was intended. Doubtless the offense that he felt was the greater, owing to this additional wound to his amour-propre. At any rate, for the first time he dignified a criticism by a reply in print. Even here he did not go so far as to mention any name, but the allusion to Crébillon fils was evident. "Il est vrai, monsieur, que nous sommes naturellement libertins, ou, pour mieux dire, corrompus; mais en fait d'ouvrages d'esprit, il ne faut pas prendre cela à la lettre ni nous traiter d'emblée sur ce pied-là. Un lecteur veut être ménagé. Vous, auteur, voulez-vous mettre sa corruption dans vos intérêts? Allez-y doucement du moins, apprivoisez-la, mais ne la poussez pas à bout.
Ce lecteur aime pourtant les licences, mais non pas les licences extrêmes, excessives; celles-là ne sont supportables que dans la réalité qui en adoucit l'effronterie; elles ne sont à leur place que là, et nous les y passons, parceque nous y sommes plus hommes qu'ailleurs; mais non pas dans un livre, où elles deviennent plates, sales et rebutantes, à cause du peu de convenance qu'elles ont avec l'état tranquille d'un lecteur."[91]
The morality set forth in this passage is not stringent. Attention has already been called to the leniency of Marivaux with regard to weaknesses of a certain type, and to his confession of his own shortcomings. When we consider the extreme immorality of French society in the eighteenth century, to which taste Crébillon fils truckled, as did most of the dramatists and novelists to a certain degree, to which even Montesquieu in the Lettres persanes paid his tribute, we can esteem at its full value the "chaste pen" of Marivaux, in whose theatre the dignity and sacredness of marriage is never once abused, the moral tone of whose journals and of Marianne is uplifting, and even in whose Paysan parvenu the tone stops short of license, and illegitimate love is left unsatisfied.[92]
Mention has been made of the feminine side of Marivaux's writings, but the Paysan parvenu, published in 1735, some six years before the last publication of Marianne is of an entirely different type. Its principal character is not here a woman, but a young man, Jacob by name, a peasant boy, who, finding provincial life distasteful to him, comes to Paris, and, by the aid of his good looks, loose morals, self-assurance, adaptability, ambition, and a peculiar power over women, succeeds in gaining for himself an enviable position in the upper circles of the bourgeoisie, as well as the hand and fortune of a rich and pious old maid, Mlle. Habert, whom his youth and charms entice. Quite another Bel Ami, as Jules Lemaître[93] remarks; but the dissimilarity is no less striking than the resemblance. While the hero of Marivaux yields easily to temptation, we feel that it is due to youth, a lack of moral training and a desire to please, along with a shrewd ambition, to be sure, and after each step upward in the social scale a moral development takes place, rendered possible by a natural sentiment of honor, which was with him from the first, so that though the story has been left unfinished by Marivaux after the fifth part, we are led to expect at least a complete emancipation from the sins of the flesh, if not a high ethical status. The hero of Maupassant, on the other hand, is basely sensual and cruelly self-interested from the first, and totally lacking in those heart-qualities which, in spite of his vices, gain our sympathies for Jacob.
The style of the Paysan parvenu is simpler, less diffuse, bolder, and more virile, than that of Marianne; but its characters are uniformly less noble, and, if its general intent is not immoral, at least many of the scenes verge upon the risqué. What is the cause of this digression from a style of writing so much more natural to Marivaux? Fleury attributes the reason to his pique with Crébillon fils and his desire to prove to him "that in a work that borders upon license, brutal license is not enough; that it must be presented in a delicate form, and seasoned with wit and observation."[94] Certain it is that les Égarements de l'esprit et du coeur, published the following year (in 1736), shows the least immorality, as well as the most talent, of any of the works of this author.
The scene of Marianne is laid in aristocratic circles, while that of the Paysan presents to us the bourgeoisie and the world of finance. Though there are many differences between these two novels, there are likewise many points of similarity. We have to do with the same cunning observer, and with one who did not consider the common people beneath his notice. Marivaux has in his style of description many traits of the realist, as we understand the term to-day. Witness the quarrel of the linen dealer and the cabman in Marianne, of which Grimm writes as follows: "On est excédé, par exemple, de cette querelle de la lingère et du fiacre, dans la Marianne de M. de Marivaux: rien n'est mieux rendu d'après nature, et d'un goût plus détestable que le tableau que je cite."[95]
Another trait common to Marianne and le Paysan parvenu, and indeed in a degree to all of his writings, is his detestation of false piety and his attack upon hypocrisy in all its forms, whether in the person of M. de Climal, M. Doucin or Mlle. Habert aînée; but, while false devotion was constantly the object of his most bitter hatred, his attitude toward true religion was noteworthy, especially for the time in which he lived. "A Dieu ne plaise qu'on me soupçonne d'avoir, un seul instant de ma vie, douté de ce que nous dit cette religion,"[96] he exclaims through the lips of one of his characters.