[VILLIERS DE L'ISLE-ADAM.]
Some take pleasure, an awkward testimony of a piously troubled admiration, in saying and even in basing a paradoxical study on the saying: "Villiers de L' Isle-Adam was neither of his country nor time." This seems preposterous, for a superior man, a great writer is, in fine, by his very genius, one of the syntheses of his race and epoch, the representative of a momentary humanity, the brain and mouth of a whole tribe and not a fugitive monster. Like Chateaubriand, his brother in race and fame, Villiers was the man of the moment, and of a solemn moment. Both, with differing views and under diverse appearances, recreated the soul of the choice spirits of a period; from one arose romantic Catholicism and that respect for the old traditional stones; and from the other, the idealistic dream and that cult of antique interior beauty. But the one was yet the proud ancestor of our savage individualism; and the other taught us that the life around is the only clay to be shaped. Villiers belonged to his time to such a degree that all his masterpieces are dreams solidly based on science and modern metaphysics, like l'Ève Future or Tribulat Bonhomet, that enormous, admirable and tragic piece of buffoonery, where all the gifts of the dreamer, ironist and philosopher come to converge, so as to form perhaps the most original creation of the century.
This point cleared, we declare that Villiers, being of prodigious complexity, naturally lends himself to contradictory interpretations. He was everything, a new Goethe, but if less conscious and less perfect, keener, more artful, more mysterious, more human, and more familiar. He is always among us and in us, by his work and by the influence of his work, which exultantly goes through the best of the writers and artists of the actual hour. He has reopened the gates of the beyond, closed with what a crash we remember, and through these gates a whole generation was hurled to infinity. The ecclesiastic hierarchy numbers among her clerks, by the side of the exorcists, the porters, they who must open the door of the sanctuary to all the well-intentioned. Villiers exercised these two functions for us: he was the exorcist of the real arid the porter of the ideal.
Complex, but we may see a double spirit in him. There were two essentially dissimilar writers in him, the romanticist and the ironist. The romanticist was the first to come to birth and the last to die: Elen and Morgane; Akedysseril and Axel. Villiers, the ironist, author of Tribulat Bonhomet, is intermediate between these two romantic phases; l'Ève future should be described as a mixture of these two so diverse elements, for the book with its overwhelming irony is also a book of love.
Villiers at once realized himself by fancy and irony, making his fancy ironic, when life disgusted him even with fancy. No one has been more subjective. His characters are created with particles of his soul, raised, in the same way as a mystery, to the state of authentic, complete souls. If it is a dialogue, he will cause a certain character to utter philosophies quite above his normal understanding of things. In Axel, the abbess speaks of hell as Villiers might have spoken of Hegelianism, whose deceptions he learned towards the end, after having accepted its large certitudes in the beginning: "It is done! the child already experiences the ravishment and intoxications of Hell!" He experienced them: as a Baudelairian, he loved blasphemy for its occult effects, the immense risk of a pleasure taken at the expense of God himself. Sacrilege is in acts, blasphemy in words. He believed in words more than in realities, which are but the tangible shadows of words, for it is quite evident, and by a very simple syllogism, that if there is no thought in the absence of words, no more is there matter in the absence of thought. He believed in the power of words to the point of superstition. The only visible corrections of the second over the first text of Axel, for example, consist in the adjunction of words of a special ending, as when, to evoke an ecclesiastic and conventual society, he uses proditoire, prémonitoire, satisfactoire, and fruition, collaudation, etc. This very sense of the mystic powers of syllabic articulation stimulates him towards the quest of names as strange as le Desservant de l'office des Morts, a church function which never existed unless at the monastery of Saint Apollodora; or l'Homme-qui-marche-sous-terre, a name no Indian carried outside of the scenes of the Nouveau-Monde.
In a very old rough draft of a page belonging perhaps to l'Ève future he has thus defined the real:
"Now I say that the Real has its degrees of being. A thing is so much more or less real for us as it interests us more or less, since a thing that interested us not at all would for us be as if it were not—that is to say, much less, though physical, than an unreal thing that interested us.
"The Real for us, then, is only what touches the senses or the mind; and according to the degree of intensity with which this sole real, which we can judge and name, affects us, we class in our mind the degree of being more or less rich in content as it seems to strike us, and it is consequentlyy legitimate to say that it is realized.