Part 7 (1/2)

CHAPTER VIII.

NOVELIST AND POLITICIAN.

By her novels cla.s.sed as ”socialistic,” Madame Sand had, as we have seen, incurred the public hostility of those whom her doctrines alarmed.

And yet her ”communist” heroes and heroines are the most pacific and inoffensive of social influences. They merely aspire to isolate themselves, and personally to practice principles and virtues of the highest order; unworldliness such as, if general, might indeed turn the earth into the desired Utopia. Nothing can be said against their example, unless that it is too good, and that there is little hope of its being widely followed.

Charges of another sort, no less bitter, and though exaggerated, somewhat better founded, a.s.sailed her after the appearance in 1847 of _Lucrezia Floriani_, a novel of character-a.n.a.lysis entirely, but into which she was accused of having introduced an unflattering portrait of Frederic Chopin, whose long and long-requited attachment to her ent.i.tled him to better treatment at her hands.

With respect to the general question of such alleged fict.i.tious reproductions, few novelists escape getting into trouble on this head.

It has been aptly observed by Mr. Hamerton that the usual procedure of the reading public in such cases is to fix on some real personage as distinctly unlike the character in the book as possible, for the original, and then to complain of the unfaithfulness of the resemblance.

Madame Sand's taste and higher art-instincts would have revolted against the practice--now unfortunately no longer confined to inferior writers--of forcing attention to a novel by making it the gibbet of well-known personalities, with little or no disguise; and Chopin himself, morbidly sensitive and fanciful though he was, read her work without perceiving in it any intention there to portray their relations to each other, which, indeed, had differed essentially from those of the personages in the romance.

_Lucrezia Floriani_ is a _cantatrice_ of genius, who, whilst still young, has retired from the world, indifferent to fame, and effectually disenchanted--so she believes--with pa.s.sion. Despite an experience strange and stormy, even for a member of her Bohemian profession, Lucrezia has miraculously preserved intact her native n.o.bility of soul, and appears as a meet object of wors.h.i.+p to a fastidious young prince on his travels, who becomes pa.s.sionately enamored of her. He over-persuades Lucrezia into trusting that they will find their felicity in each other.

Their happiness is of the briefest duration, owing to the unreasonable character of the prince, who leads the actress a miserable life; his love taking the form of petty tyranny and retrospective jealousy. After long years of this material and moral captivity, the heroic Lucrezia fades and dies.

Not content with identifying the intolerable, though it must be owned severely-tested, Prince Karol with Chopin, imaginative writers have gone so far as to a.s.sert that the book was conceived and written from an express design on the novelist's part to bring about the breach of a link she was beginning to find irksome!

Madame Sand has described how it was written--as are all such works of imagination--in response to a sort of ”call”--some striking yet indefinable quality in one idea among the host always floating through the brain of the artist, that makes him instantly seize it and single it out as inviting to art-treatment. It would be preposterous to doubt her statement. But whether the inspiration ought not to have been sacrificed is another question. Her gift was her good angel and her evil angel as well, but in any case something of her despot. Here, a.s.suredly, it ruled her ill. It is indisputable that, as she had pointed out, the sad history of the attachment of Lucrezia the actress and Karol the prince deviates too widely from that which was supposed to have originated it for just comparisons to be drawn between the two, that Karol is not a genius, and therefore has none of the rights of genius--including, we presume, the right to be a torment to those around him--that to talk of a portrait of Chopin without his genius is a contradiction in terms, that he never suspected the likeness a.s.sumed until it was insinuated to him, and so forth. But there remains this, that in the work of imagination she here presented to the public there was enough of reality interwoven to make the world hasten to identify or confound Prince Karol with Chopin. This might have been a foregone conclusion, as also that Chopin, the most sensitive of mortals, would be infinitely pained by the inferences that would be drawn. Perhaps if only as a genius, he had the right to be spared such an infliction; and one must wish it could have appeared in this light to Madame Sand. It seems as though it were impossible for the author to put himself at the point of view of the reader in such matters. The divine spark itself, that quickens certain faculties, deadens others. When Goethe, in _Werther_, dragged the private life of his intimate friends, the Kestners, into publicity, and by falsifying the character of the one and misrepresenting the conduct of the other, in obedience to the requisitions of art, exposed his beloved Charlotte and her husband to all manner of annoyances, it never seems to have entered into his head beforehand but that they would be delighted by what he had done. Nor could he get over his surprise that such petty vexations on their part should not be merged in a proud satisfaction at the literary memorial thus raised by him to their friendly intercourse! This seems incredible, and yet his sincerity leaves no room for doubt.

Madame Sand's transgressions on this head, though few, have obtained great notoriety, on account of the extraordinary celebrity of two of the personages that suggested characters she has drawn. To the supposed originals, however obscure, the mortification is the same. But what often pa.s.ses uncommented on when the individuals said to be traduced are unknown to fame, sets the whole world talking when one of the first musicians or poets of the century is involved; so that Madame Sand has incurred more censure than other novelists, though she has deserved it more rarely. But regret remains that for the sake of _Lucrezia Floriani_, one of the least pleasant though by no means the least powerful of her novels, she should have exposed herself to the charge of unkindness to one who had but a short while to live.

Other causes had latterly been combining to lead to differences of which it would certainly be unfair to lay the whole blame on Madame Sand. The tie of personal attachment between Chopin and herself was not a.s.sociated by ident.i.ty of outward interests or even of cares and family affections, such as, in the case of husband and wife, make self-sacrifice possible under conditions which might otherwise be felt unbearable, and help to tide over crises of impatience or wrong. Madame Sand's children were now grown up; cross-influences could not but arise, hard to conciliate.

Without accrediting Chopin with the self-absorption of Prince Karol, it is easy to see here, in a situation somewhat anomalous, elements of probable discord. It was impossible that he should any longer be a first consideration; impossible that he should not resent it.

For some years his state of health had been getting worse and worse, and his nervous susceptibilities correspondingly intensified. Madame Sand betrayed some impatience at last of what she had long borne uncomplainingly, and their good understanding was broken. As was natural, the breach was the more severely felt by Chopin, but that it was of an irreparable nature, one is at liberty to doubt. He bitterly regretted what he had lost, for which not all the attentions showered on him by his well-wishers could afford compensation, as his letters attest.

But outward circ.u.mstances prolonged the estrangement till it was too late. They met but once after the quarrel, and that was in company in March, 1848. Madame Sand would at once have made some approach, but Chopin did not then respond to the appeal; and the reconciliation both perhaps desired was never to take place. Political events had intervened to widen the gap between their paths. Chopin had neither part nor lot in the revolutionary movement that just then was throwing all minds and lives into a ferment, and which was completely to engross Madame Sand's energies for many months to come. It drove him away to England, and he only returned to Paris, in 1849, to die.

In May, 1847, the tranquility of life at Nohant had been varied by a family event, the marriage of Madame Sand's daughter Solange with the sculptor Clesinger. The remainder of the twelvemonth was spent in the country, apparently with very little antic.i.p.ation on Madame Sand's part that the breaking of the political storm, that was to draw her into its midst, was so near.

The new year was to be one of serious agitations, different to any that had yet entered into her experience. Political enterprise for the time cast all purely personal interests and emotions into the background. ”I have never known how to do anything by halves,” she says of herself very truly; and whatever may be thought of the tendency of her political influence and the manner of its exertion, no one can tax her with sparing herself in a contest to which, moreover, she came disinterested; vanity and ambition having, in one of her s.e.x, nothing to gain by it.

But in political matters it seems hard for a poet to do right. If, like Goethe, he holds aloof in great crises, he is branded for it as a traitor and a bad patriot. The battle of Leipzig is being fought, and he sits tranquilly writing the epilogue for a play. If, like George Sand, he throws the whole weight of his enthusiastic eloquence into what he believes to be the right scale, it is ten to one that his power, which knows nothing of caution and patience, may do harm to the cause he has at heart.

Madame Sand rested her hopes for a better state of things, for the redemption of France from political corruption, for the amelioration of the condition of the working cla.s.ses, and reform of social inst.i.tutions in general, on the advent to power of those placed at the head of affairs by the collapse of the government of Louis Philippe, a crisis long threatened, long prepared, and become inevitable.

”The whole system,” wrote Heine prophetically of the existing monarchy, five years before its fall, ”is not worth a charge of powder, if indeed some day a charge of powder does not blow it up.” February, 1848, saw the explosion, the flight of the Royal Family, and the formation of a Provisional Government, with Lamartine at its head.

It is hard to realize in the present day, when we contemplate these events through the sobering light of the deplorable sequel, how immense and wide-spreading was the enthusiasm that at this particular juncture seemed to put the fervent soul of a George Sand or an Armand Barbes into the most lukewarm and timid. ”More than one,” writes Madame d'Agoult, ”who for the last twenty years had been scoffing at every grand thought, let himself be won by the general emotion.” The prevailing impression can have fallen little short of the conviction that a sort of millennium was at hand for mankind in general and the French in particular, and that all human ills would disappear because a bad government had been got rid of, and that without such scenes of blood and strife as had disfigured previous revolutions.

The first task was firmly to establish a better one in its place. Madame Sand, though with a strong perception of the terrible difficulties besetting a ministry which, to quote her own words, would need, in order to acquit itself successfully, ”the genius of a Napoleon and the heart of Christ,” never relaxed an instant in the enforcement, both by example and exhortation, of her conviction that it was the duty of all true patriots and philanthropists to consecrate their energies to the cause of the new republic.

”My heart is full and my head on fire,” she writes to a fellow-worker in the same cause. ”All my physical ailments, all my personal sorrows are forgotten. I live, I am strong, active, I am not more than twenty years old.” The exceptional situation of the country was one in which, according to her opinion, it behooved men to be ready not only with loyalty and devotion, but with fanaticism if needed. She worked hard with her son and her local allies at the ungrateful task of revolutionizing Le Berry, which, she sighs, ”is very drowsy.” In March she came up to Paris and placed her services as journalist and partizan generally at the disposal of Ledru-Rollin, Minister of the Interior under the new Government. ”Here am I already doing the work of a statesman,” she writes from Paris to her son at Nohant, March 24. Her indefatigable energy, enabling her as it did to disdain repose, was perhaps the object of envy to the statesmen themselves. At their disgust when kept up all night by the official duties of their posts, she laughs without mercy. Night and day her pen was occupied, now drawing up circulars for the administration, now lecturing the people in political pamphlets addressed to them. To the _Bulletin de la Republique_, a government journal started with the laudable purpose of preserving a clear understanding between the ma.s.s of the people in the provinces and the central government, she became a leading contributor. For the festal invitation performances given to the people at the ”Theatre de la Republique,” where Rachel sang the Ma.r.s.eillaise and acted in _Les Horaces_, Madame Sand wrote a little ”occasional” prologue, _Le Roi Attend_, a new and democratic version of Moliere's _Impromptu de Versailles_. The outline is as follows:--Moliere is discovered impatient and uneasy; the King waits, and the comedians are not ready. He sinks asleep, and has a vision, in which the muse emerges out of a cloud, escorted by aeschylus, Sophocles, Euripides, Shakespeare, and Beaumarchais, to each of whom are a.s.signed a few lines--where possible, lines of their own--in praise of equality and fraternity. They vanish, and Moliere awakes; his servant announces to him that the King waits--but the King this time is, of course, the people, to whom Moliere now addresses his flattering speech in turn.

But the fervor of heroism that fired everybody in the first days of successful revolution, that made the leaders disinterested, the ma.s.ses well-behaved, reasonable, and manageable, was for the majority a flash only; and the dreamed-of social ideal, touched for a moment was to recede again into the far distance. It was Madame Sand's error, and no ign.o.ble one, to entertain the belief that a nation could safely be trusted to the guidance of a force so variable and uncontrollable as enthusiasm, and that the principle of self-devotion could be relied upon as a motive power. The divisions, intrigues, and fatal complications that quickly arose at head-quarters confirmed her first estimation of the practical dangers ahead. She clung to her belief in the sublime virtues of the ma.s.ses, and that they would prove themselves grander, finer, more generous than all the mighty and the learned ones upon earth. But each of the popular leaders in turn was p.r.o.nounced by her tried and found wanting. None of the party chiefs presented the desirable combination of perfect heroism and political genius. Michel, the apostle who of old had converted her to the cause, she had long scorned as a deserter. Leroux, in the moment of action, was a nonent.i.ty.

Barbes ”reasons like a saint,” she observes, ”that is to say, very ill as regards the things of this world.” Lamartine was a vain trimmer; Louis Blanc, a sectarian; Ledru-Rollin, a weatherc.o.c.k. ”It is the characters that transgress,” she complains navely as one after the other disappointed her. Her own shortcomings on the score of patience and prudence were, it must be owned, no less grave. Her clear-sightedness was unaccompanied by the slightest dexterity of action. Years before, in one of the _Lettres d'un Voyageur_, she had pa.s.sed a criticism on herself as a political worker, the accuracy of which she made proof of when carried into the vortex. ”I am by nature poetical, but not legislative, warlike, if required, but never parliamentary. By first persuading me and then giving me my orders some use may be made of me, but I am not fit for discovering or deciding anything.”

Such an influence, important for raising an agitation, was null for controlling and directing the forces thus set in motion. In the application of the theories she had accepted she was as weak and obscure as she was emphatic and eloquent in the preaching of them. Little help could she afford the republican leaders in dealing with the momentous question how to fulfill the immense but confused aspirations they had raised, how to show that their principles could answer the necessities of the moment.