The Project Gutenberg EBook of Anatole France, by Walter Lionel George This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org. If you are not located in the United States, you'll have to check the laws of the country where you are located before using this ebook. Title: Anatole France Author: Walter Lionel George Release Date: January 30, 2019 [EBook #58792] Language: English Character set encoding: UTF-8 *** START OF THIS PROJECT GUTENBERG EBOOK ANATOLE FRANCE *** Produced by ellinora, Charlie Howard, and the Online Distributed Proofreading Team at http://www.pgdp.net (This file was produced from images generously made available by The Internet Archive/American Libraries.) W R I T E R S O F T H E D AY GENERAL EDITOR: BERTRAM CHRISTIAN ANATOLE FRANCE By W. L. GEORGE NOVELS A BED OF ROSES THE CITY OF LIGHT ISRAEL KALISCH. (American Title: UNTIL THE DAY BREAK) THE MAKING OF AN ENGLISHMAN THE SECOND BLOOMING SHORT STORIES OLGA NAZIMOV MISCELLANEOUS WOMAN AND TO-MORROW DRAMATIC ACTUALITIES ANATOLE FRANCE ANATOLE FRANCE By W. L. GEORGE NEW YORK HENRY HOLT AND COMPANY First Published in 1915 CONTENTS PAGE I. INTRODUCTORY 7 II. SATIRIST AND CRITIC 26 III. PHILOSOPHER AND THEOLOGIAN 60 IV. HISTORIAN AND POLITICIAN 77 V. THE CRAFTSMAN AND THE MAN 100 BIBLIOGRAPHY (FRENCH TITLES) 122 ENGLISH BIBLIOGRAPHY 123 AMERICAN BIBLIOGRAPHY 125 INDEX 126 5 I AUTHOR’S NOTICE IN THIS MONOGRAPH I HAVE USED THE TRANSLATED TITLES OF THE WORKS. WHEN FRENCH TITLES APPEAR IT SHOULD BE INFERRED THAT THE BOOK question is so far untranslated. TO MY FRIEND SASHA KROPOTKIN LEBEDEFF I INTRODUCTORY RONY IS FOR THE IRONIC. HE HAS SHOWN HIMSELF MILITARY AT THE LAST, BUT I BELIEVE ANATOLE FRANCE WOULD HAVE SMILED, A LITT WISTFULLY, IF TOLD THAT A YOUNG MAN HAD SENTENCED HIMSELF TO READ EVERY ONE OF HIS WORKS AND TO WRITE A BOOK ABOUT THEM WHIL THERE RAGED ROUND HIM A EUROPEAN WAR. SUCH AN ATMOSPHERE MAY SEEM UNPROPITIOUS, BUT IT WAS NOT REALLY SO; IT WAS AN ATMOSPHERE OF PARADOX; IT WAS ODD TO ANALYSE THE GREAT PACIFIST WHILE EUROPE WRITHED IN CONFLICT; STILL ODDER TO THINK OF HIM AS THROW ASIDE HIS PEN AND AT THE AGE OF SEVENTY TAKING UP HIS FORSWORN SWORD. BUT IN THE CASE OF ANATOLE FRANCE THE WORK IS AS GREAT AS THE MAN AND IT AFFORDED ME A CONTRAST WITH PATRIOTISM. THIS BACKGROUND OF PATRIOTISM, SO QUEERLY COMPOUNDED OF BEER, SWEAT, FINE COURAGE, SELF- SACRIFICE, SELF-INTEREST, OF INSANE PREJUDICES, HEAVY IGNORANCES AND MELTING HEROISMS, WAS SO EXACTLY WHAT I NEEDED TO BRING OUT THE DAPPER QUALITY OF THE GREAT FRENCHMAN’S THOUGHT. NO MUDDLED IMPULSES HERE, BUT A CLEAR, COLD LIGHT WHICH REVEALS, TOGETHER WITH ALL IS BEAUTIFUL, ALL THAT IS UGLY; HERE A BRAIN THAT IS WITHOUT ILLUSIONS, AND YET WITHOUT BITTERNESS; THAT IS NOT TAKEN IN BY FLAGS, AND PRIES FRONTIERS, YET AT THE SAME TIME CAN LOVE PRIESTS FOR THEIR FAITH, FLAGS FOR THEIR SYMBOLISM, FRONTIERS FOR THE CONTRASTS THEY CREATE IN MA On Life and Letters, ANATOLE FRANCE TELLS US THAT DURING THE WAR OF 1870 HE SAT PRACTICALLY UNDER THE FIRE OF THE GERMAN GUNS, WIT M. F. CALMETTE, READING VIRGIL. I DID NOT WRITE THESE LINES UNDER THE FIRE OF THE GERMAN GUNS BUT, IN THE HECTIC ATMOSPHERE OF WAR-TIME, write about Anatole France created in me no doubt much the same kind of feeling as was his that day. I DO NOT APOLOGISE FOR THE EGOTISM WHICH IS ALREADY INVADING THIS MONOGRAPH, AND I SUPPOSE I SHALL REMAIN EGOTISTIC AS I GO ON. FOR THE WORKS OF ANATOLE FRANCE ARE TOO BULKY, TOO MANY TO BE APPRAISED ONE BY ONE; THEY RAISE SO MANY ISSUES THAT A FAT QUARTO VOLUME WOULD HARDLY SUFFICE TO ANALYSE ALL, AND IT WOULD BE RATHER DULL. BELIEVING THAT CRITICISM IS “THE ADVENTURES OF THE SOUL AM MASTERPIECES,” I AM MUCH MORE INCLINED TO GIVE THE ADVENTURES OF MY INTELLECT (CLAIMING NO SOUL) AMONG THE WORKS OF ANATOLE FRANCE. I HAVE READ VERY LITTLE ABOUT HIM, INDEED BUT ONE BOOK, BY MR GEORG BRANDES, AND IN THE EARLY PART OF 1914 A NUMBER OF ARTICLES WHEN ANATOLE FRANCE PAID US A VISIT. THEY ARE VERY DISTRESSING, THOSE ARTICLES, AS THEY APPEAR TO HAVE BEEN WRITTEN MAINLY BY MEN WHO DO NOT KNOW WHAT THEY ARE TALKING ABOUT, BUT CAN TALK ABOUT IT EXACTLY TO THE EXTENT OF A COLUMN. I REFER TO THE ALLEGED EVOLUTION OF A France, of which something must be said a little further on. THE TEMPTATION TO TRANSLATE LONG QUOTATIONS WAS VERY GREAT, FOR TRANSLATION IS A CHALLENGING EXERCISE AND AN UNEASY, BUT, SO FAR AS POSSIBLE, I HAVE RESISTED IT. I THINK IT ONLY FAIR TO SAY THAT, AS A RULE, I HAVE NOT TRANSLATED VERY CLOSELY, BUT ATTEMPTED TO RENDER SELE PASSAGES, FITTING THE STYLE TO THE MATTER; THAT IS, FOR PHILOSOPHIC OR DESCRIPTIVE PASSAGES I HAVE, AS MUCH AS POSSIBLE, USED LATINISED ENGLISH; FOR THE MORE FAMILIAR PORTIONS I HAVE DRAWN UPON OUR SLENDER STOCK OF ANGLO-SAXON. 1 AS FOR THE CLASSIFICATIONS, ANATOLE FRANCE SATIRIST, CRITIC, POLITICIAN, PHILOSOPHER, ETC., THEY ARE NECESSARILY RATHER ROUGH; THEY OVERLAP BECAUSE NOT ONE OF HIS BOOKS IS ONE THING, AN one thing only. In that direction too I must claim the reader’s indulgence. 1I should like to say in this respect that I am greatly indebted to Mr John Lane, who owns the British copyright of most of the works of Anatole France, for leave not only to quote portions of his translations, but also to retranslate and condense the French text. A full list of the English titles of the works will be found at the end of this volume. YET ANOTHER WORD: I COME NEITHER TO BURY ANATOLE FRANCE NOR TO PRAISE HIM; THERE IS IN ONE-MAN CRITICISM A DANGER THAT IT SHOULD BE TOO FAVOURABLE, FOR THE CRITIC TENDS TO CHOOSE AS A SUBJECT AN AUTHOR WHOM HE WHOLE-HEARTEDLY WORSHIPS. NOW I DO NOT WORSHIP ANATOLE FRANCE; I HAVE HAD TO READ EVERY ONE OF HIS WORKS OVER AGAIN IN THE LAST FEW WEEKS, AND IF THERE IS ANYTHING CALCULATED TO MAKE ONE HATE A WRITER FOR EVERMORE IT IS TO READ ALL HIS WORKS ONE AFTER THE OTHER. PEOPLE ARE AFRAID TO CRITICISE ANATOLE FRANCE ADVERSELY; HE SEEMS HAVE ATTAINED THE POSITION NOW ACCORDED TO GALILEO (WHO WAS TORTURED), TO JOAN OF ARC (WHO WAS BURNED), TO WAGNER (WHO WAS 7 8 9 10 11 hooted), to everybody, in fact, who ever did anything worth while. In his early years, when de Maupassant, Zola, Daudet, were alive, he WAS IGNORED; EVERYTHING WAS DONE TO KEEP HIM DOWN: THE ACADÉMIE FRANÇAISE WENT SO FAR AS TO GIVE HIM A PRIZE. BUT TIMES HAVE CHANGED; ANATOLE FRANCE IS ACCLAIMED ALL OVER THE WORLD; EVERYBODY QUOTES HIM, AND THOSE WHO CANNOT QUOTE HIM QUOTE HIS NAME; HE IS ABOVE CRITICISM. THIS WOULD BE VERY BAD FOR HIM IF HE WERE NOT ALSO ABOVE ADULATION. PEOPLE DARE NOT SAY THE THINGS WHICH SHOULD BE OBVIOUS: THAT HE REPEATS HIMSELF; THAT HE IS SENTIMENTAL; THAT HIS NOVELS ARE, FROM THE POINT OF VIEW OF FRENCH TECHNIQUE, INCOHERENT; TH AS EXPRESSED BY HIS CHARACTERS, HIS CONCEPTION OF LOVE IS RATHER DISGUSTING; IN FACT, THEY TAKE ALL THE HUMANITY OUT OF HIM BY ENDOWING HIM WITH ALL THE GRACES; THEY ERECT TO HIM A STATUE WHICH REPRESENTS HIM JUST ABOUT AS MUCH AS THE SORT OF STATUE THEY OCCASIONALLY PUT UP some highly respectable politician whom they depict stark naked, and beautiful as a young discobolus. THE REASON PROBABLY IS THAT IT IS NOT ENOUGH TO UNDERSTAND ANATOLE FRANCE; ONE ALSO HAS TO UNDERSTAND THE FRENCH, THE GAY, SENSUAL GARRULOUS FRENCH OF THE MIDDLE AGES, THE GAY, SENSUAL, COURTEOUS FRENCH OF THE SEVENTEENTH CENTURY, THE GAY, SENSUAL, CYNICAL FRENCH Voltairian times, and the SENSUAL, CYNICAL FRENCH OF TO-DAY. ANATOLE FRANCE IS ALL THESE, A SORT OF HISTORICAL CONGRESS OF FRENCH EPOCHS, A RETROSPECTIVE EXHIBITION OF FRENCH MENTALITIES. THAT PERHAPS EXPLAINS THE CONFUSION WHICH REIGNS IN THE MINDS OF A GREAT MANY PEOPLE AS to his alleged evolution from reaction to red socialism, a confusion so great that it seems to have touched even Mr Georg Brandes. IT IS NOT WONDERFUL THAT ANATOLE FRANCE SHOULD BE SO REPRESENTATIVE, FOR HE IS A PROVINCIAL BY EXTRACTION, A PARISIAN BY BIRTH A ENVIRONMENT. THE WHOLE OF HIS BIOGRAPHY IS REVEALED IN HIS BOOKS, SO IT IS ENOUGH TO SAY THAT HE WAS BORN IN 1844, IN THE QUARTER (THAT WAS INEVITABLE), THAT HE GREW UP IN HIS FATHER’S OLD BOOKSHOP NEAR THE QUAYS OF THE SEINE, LISTENING, AS HE GREW UP, SOMETIMES TO THE TALK OF REPUBLICANS, FOR THOSE WERE THE DAYS OF THE SECOND EMPIRE, MUCH MORE OFTEN TO THAT OF ELEGANT HALF-WORLDLING ABBÉS AND ARISTOCRAT FOR HIS FATHER WAS A PRONOUNCED ROYALIST AND CATHOLIC, AS WAS ALSO HIS MOTHER.... OLD BOOKS, GOOD TALK, AND THE SEINE LAZILY FLOWING UNDER THE PLANE-TREES BEFORE THERE WERE STEAM TRAMS. IT IS ALL VERY LIKE ANATOLE FRANCE, LIKE THE FOUR VOLUMES OF Contemporary History WHERE THE BOOKSHOP IS THE CENTRE, LIKE Pierre Nozière and My Friend’s Book. THEN LITTLE FRANCE (WHOSE REAL NAME IS THIBAULT) WENT TO THE COLLÈGE STANISLAS TO BE BROUGHT UP AS A GOOD ROYALIST CHILD. BUT HE DID NOT DO PARTICULARLY WELL THERE, THUS BEARING OUT THE LEGE THE PRIZE BOY. NOTABLY HE LOAFED. ANATOLE FRANCE IN LIFE HAS ALWAYS LOAFED, WHICH IS NATURAL ENOUGH IN ONE WHO WAS BORN NEAR BRIDGES. Who would not loaf who has a flowing river to watch? It might be said that Anatole France has loafed through thirty-five volumes. AS HE GREW UP HE ACCOMPLISHED DESULTORY TASKS, HE TAUGHT, HE WROTE ARTICLES FOR THE PAPERS; IN 1868 HE PUBLISHED HIS STUDY OF ALFRED DE VIGNY; IN 1873 AND 1876 HE GAVE US TWO VOLUMES OF VERSE, Poèmes Dorés and Les Noces Corinthiennes. NOT VERY STARTLING OR ATTRACTIVE VERSE; HOWEVER DEEP ANATOLE FRANCE’S POETIC FEELING, HE HAS NEVER APPROACHED GREATNESS AS A POET, PERHAPS BECAUSE HE WAS ALWAYS TOO CALM, TOO DETACHED, BECAUSE SO SELDOM DID HIS EYE IN FINE FRENZY ROLL. ONLY WHEN AT LAST, IN 1879, HE PUBLISHED HIS FIRST WORK OF CREATIVE PROSE, TWO LONGISH STORIES, Jocasta AND The Famished Cat, FOLLOWED, TWO YEARS LATER, BY The Crime of Sylvestre Bonnard, and in 1882 by Les Désirs de Jean Servien,2 was born the Anatole France we know to-day. 2The title is given in English if the work has been translated, in French if it has not. I CANNOT LAY TOO MUCH STRESS UPON THAT. ANATOLE FRANCE WAS POTENTIALLY IN 1881 WHAT HE IS NOW. IT HAS CONTINUALLY BEEN SUGGESTE THAT, UP TO 1898 AND THE REVIVAL OF THE DREYFUS CASE, ANATOLE FRANCE WAS A REACTIONARY, A CLERICAL, AN ANTI-DEMOCRAT; THAT, SOMEHOW, AN UNEXPLAINED MANNER, HE UNDERWENT A CHANGE OF HEART AND SUDDENLY TURNED INTO A HUMANITARIAN SOCIALIST; AND A FEW BOLD FOLK HINTE when The Gods are Athirst APPEARED IN 1913, THAT ANATOLE FRANCE, BECAUSE HE PAINTED A DREADFUL AND THEREFORE NOT OVER-KIND PICTURE OF THE FRENCH REVOLUTION, HAD REACTED AGAIN. BRIEFLY: THE GENIUS AS WEATHERCOCK. IT HAS EVEN BEEN SUGGESTED THAT ANATOLE FRANCE WROT THIS REACTIONARY BOOK TO MAKE HIS PEACE WITH THE RESPECTABLE CLASSES AND TO GET INTO THE ACADÉMIE FRANÇAISE: THE ANSWER IS THAT ANATOL France was a member of that august body seventeen years before the publication of the book. AN EXAMINATION OF ANATOLE FRANCE’S EARLY WORKS IS VITAL TO THIS QUESTION, NOTABLY OF Jocasta, WHICH HAS VERY LITTLE TO DO WITH THE MYTH, FOR THERE IS NO ŒDIPUS TO MURDER HIS FATHER AND MARRY HIS MOTHER; ANATOLE FRANCE IS TOO MODERN FOR THAT. IT IS A QUEER, HORRIBL STORY OF THE DAUGHTER OF A SHADY MIDDLEMAN WHO, INSTEAD OF MARRYING THE YOUNG DOCTOR SHE LOVES, WEDS A WEALTHY AND SINISTER OLD ENGLISHMAN, WHOM, TO HER KNOWLEDGE, HIS VALET MURDERS. FEARING DISCOVERY AND HAUNTED BY REMORSE (THE FURIES), EMULATING JOCASTA, SHE HANGS HERSELF. THIS STORY WOULD HARDLY BE WORTH MENTIONING SAVE FOR ITS FINE LITERARY STYLE AND ITS HIGH CHARACTERISATION OF FELLAIRE, SOLEMN, KINDLY, BUMPTIOUS, SENTIMENTAL MIDDLEMAN, OF HAVILAND, THE DRY AND METHODICAL COLLECTOR, IF ALREADY HERE ANATOLE FRANCE WE NOT AT THE AGE OF THIRTY-FIVE INDICATING WHAT HE WOULD BECOME. FOR HE MAKES A JOURNALIST SAY IN CONCLUSION, AFTER DISCUSSING THE IMMORTALITY OF THE SOUL AND DECIDING THAT IT IS REALLY A VERY COMPLICATED QUESTION: “FORTUNATELY THE ALMIGHTY IS NOT A SUBJECT FOR AN U date par.” IN THE SECOND STORY, The Famished Cat, WHERE AGAIN WE HAVE THE QUITE MAGICAL PICTURE OF GODET-LATERASSE, THE SEEDY REVOLUTIONARY, AND OF THE ABSURD PEOPLE CONCERNED WITH ABSURD ARTS AT THE FAMISHED CAT TAVERN, WE FIND ANOTHER INCARNATION OF THE FUT ANATOLE FRANCE: THE SCULPTOR LABANNE, LAZY, IRONIC, WHO MORALISES ON ART RATHER AS WILL CHOULETTE IN The Red Lily, FIFTEEN YEARS LATER. BUT IT IS IN The Crime of Sylvestre Bonnard THAT ANATOLE FRANCE MOST CLEARLY INDICATES HIS OWN FUTURE. THIS IS JUST THE STRAGGLING STORY OF BONNARD, THE OLD PROFESSOR, WHO OBSERVES THE WORLD, INTERESTED IN WOMEN, BENEDICTINE CHRONICLES, THE ARC DE TRIOMPHE, CATS AND THE LOVE AFFAIRS OF FOURTEENTH-CENTURY QUEENS. THE OLD GENTLEMAN WATCHES OVER THE GRANDDAUGHTER OF ONE WHOM HE LOVED BUT NEVER MARRIED HE BEHAVES QUITE QUIXOTICALLY, PROTECTS HER AGAINST A SCHOOLMISTRESS WHO ILL TREATS HER; AT LAST HE KIDNAPS HER TO MAKE HER HAPPY, AND A ENDS WELL IN SPITE OF A LITTLE TRAGEDY WHEN THE GIRL MARRIES AND OLD BONNARD SELLS HIS BOOKS TO GIVE HER A DOWRY. IT IS ALL MOST INCOHERE AND ONE NEVER QUITE KNOWS WHAT SYLVESTRE BONNARD’S CRIME WAS; IT MAY BE THE ABDUCTION (FOR OLD BONNARD, LEARNED IN THE LAW OF THE SIXTH CENTURY, KNOWS NOTHING OF THE CODE NAPOLEON), OR IT MAY BE, WHICH IS MUCH MORE LIKELY, THAT WHEN HE SELLS HIS BOOKS THERE ARE SOME HE CANNOT BEAR TO PART WITH, EVEN TO AFFORD HIS WARD A DOWRY, AND THAT HE GOES BY NIGHT NOW AND THEN TO STEAL A FEW OF THEM FROM THE PILE. THE WHOLE STORY IS FULL OF CHARM, AND MR GEORG BRANDES IS UNJUST WHEN HE DESCRIBES IT AS A SIMPLE TALE. IT IS MUCH MORE THAN THAT: IT SINGULARLY REVEALS ANATOLE FRANCE HIMSELF, FOR HERE WE HAVE A MAN AGED THIRTY-SIX WRITING AS A KINDLY, RATHER CYNICAL, FAINTLY OLD GENTLEMAN, FOND OF THE CLASSICS AND OF HUMANITY. CHILDREN MAKE HIM SENTIMENTAL; HE LECTURES HIS CAT ON IMMORTAL TRUTH. HE SAYS: 12 13 14 15 16 17 18 19 I HAVE ALWAYS PREFERRED THE FOLLY OF PASSION TO THE WISDOM OF INDIFFERENCE.” AND THAT IS TRUE, ONLY ONE FEELS THAT HE LOVES BEST THE FOLLY PASSION WHEN IT AFFLICTS OTHERS. THE BOOK ENDS ON A MELANCHOLIC NOTE, WHICH IS PERHAPS NOT SO MELANCHOLIC AS IT SEEMS, FOR IT BRINGS OUT LIFE PASSING BY, ALL GOLDEN AND BLOODY, AS AN OLD, OLD SHIP WITH A SUMPTUOUS FIGUREHEAD, WITH RAGGED SILKEN SAILS, CARRYING THE EMBALMED CORPSES OF THOSE WHO FIRST SIGNED ON, AND THEIR OWN SONS GROWING UP, FULL OF SAP, THEIR THICK HAIR STREAMING IN THE WIND. ALREADY IN THI BOOK ANATOLE FRANCE IS GENTLE. HE IS REMORSEFUL BECAUSE “HE HAS MADE FUN OF AN UNHAPPY MAN”; HE IS FULL OF PITY FOR A BEGGAR-BOY WHO WILL NOT ACCEPT A BIT OF GINGERBREAD, AND SAYS: “HE DARES NOT TOUCH IT: IN VIRTUE OF PRECOCIOUS EXPERIENCE HE DOES NOT BELIEVE IN HAPPINESS.” HE STATES A GENERAL THEORY: THE TIME THAT GOD GIVES EACH ONE OF US IS AS A PRECIOUS FABRIC WHICH WE EMBROIDER AS WELL AS WE MAY. THIS MAN OF THIRTY-SIX IS ALREADY OLD; HE HAS LAID HIS HAND ON THE HEAD OF MAN AS IF HE WERE A LITTLE CHILD, AND SAID: “CREATURE TH THINKEST TO FIND ETERNITY IN THE INTENSITY OF THY SUFFERINGS, IN THEIR PERMANENCE, IN THE IMPOSSIBILITY OF THY LOVES, AND THE GREATNESS O CHARMS; OH, LITTLE CREATURE ON THIS BLIND WORLD, I, OLD MAN, OLD GOD, WHO HAVE SEEN SO MANY WORLDS LIKE THIS ONE BUSILY SPINNING, LET ME beg thee be not so urgent, so hot, so young. For I am old, old as truth, and I know the shortness of thy pains.” WHO IS SYLVESTRE BONNARD? SYLVESTRE BONNARD IS BERGERET, IS COIGNARD, IS BROTTEAUX, HE IS THE FIRST OF ALL THOSE NICE OLD GENTLEM WHO PASS THROUGH THE PAGES OF ANATOLE FRANCE. HE HAS NEVER CHANGED; HE WAS BORN LIKE A YOUNG RAT IN A BOOK-CASE, AND SO HE remained. Those old gentlemen believe in service, resignation; they are tolerant and indulgent, and are always ready to say when the time comes, to any God you prefer, for they don’t mind: “Et nunc dimittis servum tuum, Domine.” THE PHILOSOPHICAL HUMANITARIAN WHO WAS TO DEFEND DREYFUS EXISTED, THEN, IN 1881; THE SUBSIDIARY MOTIVES EXISTED TOO IN THOSE YEARS. For instance, in My Friend’s Book (1885) THE SMALL BOY SAYS: “I SAW MY FATHER, MY MOTHER AND THE MAID AS VERY GENTLE GIANTS WHO HAD WITNESSED THE BIRTH OF THE WORLD, IMMUTABLE, EVERLASTING, UNIQUE OF THEIR KIND.” THAT IS EXACTLY WHAT THE LITTLE DOG, RIQUET, THINKS OF M GENERAL AND WHAT ANATOLE FRANCE PERFIDIOUSLY ALLOWS US TO CONCLUDE MAN HAS ALWAYS THOUGHT OF GOD. ALREADY HE IS CYNICAL, AND YE SMILING, FOR HE SAYS: “I HAVE FAITH NO LONGER IN MY OLD FRIEND, LIFE: YET I STILL LOVE IT.” BUT THERE IS IN THIS BOOK A MORE IMPORTANT INDICATIO OF THE MAN TO COME; IT IS NOT ONLY THE ALLEGED SOCIALIST OF 1898 THAT ALREADY EXISTS, BUT THE PASSIONATE PAGAN OF 1914. IN My Friend’s Book HE TAKES A LITTLE GIRL TO A PUNCH AND JUDY SHOW. PUNCH KILLS THE DEVIL, AND PIERRE NOZIÈRE (ANATOLE FRANCE) REMARKS: “THE DEVIL DEA GOOD-BYE SIN. MAYBE BEAUTY, THIS ALLY OF THE DEVIL, WILL VANISH WITH HIM. MAYBE WE SHALL NOT AGAIN SEE THE FLOWERS THAT INTOXICATE AND T EYES THAT SLAY.” ANY STUDENT OF ANATOLE FRANCE WILL REALISE THAT IN 1885 THE AUTHOR WAS ALREADY EXPRESSING WHAT HE WOULD STATE MORE F in 1914 in The Revolt of the Angels—namely, his fear and hatred of ascetic, beauty-hating, death-desirous Christianity. AND THERE IS MORE: FORGIVE ME IF I PAINT THE LILY A LITTLE, BUT OTHERS HAVE PAINTED IT AND IN COLOURS WHICH DISPLEASE ME. THE ALLEGE REACTIONARY OF The Gods are Athirst, THE MAN WHO WAS SUPPOSED TO HAVE GONE BACK IN 1914 UPON THE HUMANITARIAN AND REPUBLICAN SENTIMENTS OF THE DREYFUS PERIOD, THAT MAN WAS, IN 1882, IN Les Désirs de Jean Servien (A THOROUGHLY SECOND-RATE NOVELETTE), PAINTING AN ABSURD REVOLUTIONARY. THE COMMUNE REIGNS; HE SHOWS THE HERO THE PEOPLE RIOTING IN THE LUXEMBOURG GARDENS, AND SAYS: “M. SERVIEN, LOOK UPON THIS SCENE AND NEVER FORGET IT: HERE IS A FREE PEOPLE. Indeed the citizens were walking upon the grass, plucking flowers in the beds, and breaking off the branches of the trees.” ANATOLE FRANCE HAD IN THOSE DAYS FEW ILLUSIONS AS TO THE BEHAVIOUR OF FREE PEOPLES! AND AGAIN IN THE SHORT STORIES WHICH MAKE UP Mother of Pearl (1892) ONE IS OPPRESSED BY ANATOLE FRANCE’S HATRED OF the revolutionaries, their brute ignorance, vanity, stupidity, their mean revengefulness, and their silly imitation of Roman attitudes. ANATOLE FRANCE IS WHAT HE WAS, AND IF HE SEEMS TO HAVE CHANGED NOW AND THEN, OR TO HAVE BEEN INCONSISTENT, IT IS BECAUSE HE IS A DEVELOPED HUMAN BEING, A RARE BIRD. HE HAS NOT CUT OUT HIS VIEWS AS WITH A STENCIL; THEY ARE FLUID, THEY OVERLAP, AND HE CAN HOLD SIMULTANEOUSLY TWO ENTIRELY DIVERGENT VIEWS. I SUBMIT THAT ANY MAN OF HIGH INTELLECTUAL DEVELOPMENT TENDS TO HOLD TWO VIEWS UPON ONE TOPIC. ONE VIEW IS THAT OF HIS INSTINCT, THE OTHER IS THAT OF HIS REASON. IN THE CASE OF ANATOLE FRANCE THE INSTINCT IS ALWAYS HEDONISTIC; H A PAGAN; HE LOVES GREECE, ROME, THE MIDDLE AGES, AND EVEN THE CATHOLIC CHURCH, FOR THEIR BEAUTY; HE IS FOND OF ALL THE GOOD THINGS OF THE WORLD, BEAUTIFUL WOMEN, FLOWERS, SWEETMEATS; OF ALL THE FINE, DISDAINFUL ARISTOCRATIC IDEAS OF THE ARTISTS AND THE PHILOSOPHERS.... THERE IS WHAT MAY BE CALLED HIS SOCIAL CONSCIENCE, WHICH IS UTILITARIAN AND SOCIALISTIC. THAT CONSCIENCE TELLS HIM THAT HOWEVER MUCH BEAU HE MAY EXTRACT FROM IT, THIS WORLD, FILLED WITH WARS, WITH CRUELTIES, WITH FACTORIES, WITH UGLY HOUSES AND UGLY CLOTHES, WITH MEAN PREJUD IS A WORLD FOR WHICH HE IS RESPONSIBLE BECAUSE HE IS A MAN. THE DREAM OF THAT UGLY WORLD WILL NOT LET HIM SLEEP EASILY UPON HIS ROSE- DECKED COUCH. THERE IS THE CONFLICT WHICH HAS PUZZLED SO MANY OF HIS READERS; SOMETIMES AN EPICUREAN, AT OTHER TIMES A SORT OF LLOYD GEORGEITE IS APPARENT. THIS DOES NOT MEAN THAT ANATOLE FRANCE IS THROWING OVER ANY IDEAS; HE IS MERELY BEING MORE OR LESS INFLUENCED BY ONE SIDE OF HIS OWN SELF. HIS LOVE OF HUMANITY HAS ALWAYS MADE IT DIFFICULT FOR HIM TO ENJOY THE FRUIT HE RAISED TO HIS MOUTH IF IT OCCURRED him just then that other mouths might go hungry. II SATIRIST AND CRITIC F ANATOLE FRANCE IS TO BE REMEMBERED—THAT IS, FOR A WHILE, WHICH IS PERHAPS ALL A MAN CAN HOPE—IT WILL BE AS A CRITIC AND AS A SATIRIST. WHETHER HE WILL BE REMEMBERED LONGER THAN HIS CONTEMPORARIES, TOLSTOY OR MR SHAW, I DO NOT KNOW. THOUGH HE HAS delighted us, the race of delights is short and pleasures have mutable faces; he may share the fate of Flaubert, who is menaced; of DE MAUPASSANT, WHO IS GOING; OR OF SCHILLER, FORGOTTEN; OF WALTER SCOTT, REDUCED TO A JUVENILE CIRCULATION; OF THACKERAY, STAKING ALL U ONE NOVEL; OF DICKENS, SURVIVING BY THE PICTURESQUE; OF TOLSTOY, CONVICTED AS A MORALIST; OF GREEKS UNEASILY STAGGERING UNDER THE BURDEN OF ILLOGICAL MURDER AND ABSURD INCEST ... I DO NOT THINK THAT HE WILL JOIN THE GLORIOUS BAND: HOMER, SHAKESPEARE, MOLIÈRE. FOR ANATOLE 20 21 22 23 24 25 26 27 FRANCE HAS UNDERSTOOD ALL THINGS, BUT MAINLY IN THEIR DETAILS. HE HAS MADE A MOSAIC, NOT A MARBLE COURT; SEATED ON OLYMPUS, HIS EYES HAVE BEEN TOO KEEN, AND HE HAS SEEN MEN TOO CLEARLY, MAN NOT ENOUGH. BUT STILL HE IS, I SUPPOSE, ASSURED OF HIS LINE IN ANY BIOGRAPHICAL DICTIONARY THAT MAY BE PRINTED IN THE YEAR 3000, AND THAT IS A GOOD DEAL. I LIKE TO THINK OF THAT ENTRY IN THE Cyclopædia of Literature (published by the International Government Press; price, seven days labour bonds, net). It runs something like this: FRANCE (ANATOLE). PEN-NAME OF JACQUES ANATOLE THIBAULT. FRENCH WRITER, B. 1844. D. . SATIRIST AND CRITIC. SOME OF HIS WORK HAS MERIT AS REFLECTING THE FAINTLY ENLIGHTENED VIEWS OF AN observer living in barbarous times. ANATOLE FRANCE IS THE ONLY LIVING SATIRIST. HE HAS ACTUALLY NO RIVALS; THERE ARE MEN SUCH AS MESSRS MAX BEERBOHM, HANSI, MIRBEAU, HECTOR MUNRO, F. P. DUNNE, WHO HAVE A GLIMMERING OF WHAT SATIRE MEANS; MR WELLS WOULD HAVE MORE THAN A GLIMMERING IF, UNFORTUNATELY, HE DID NOT HOLD DEEP CONVICTIONS ABOUT RIGHT AND WRONG, A WEAKNESS TO WHICH, IN SPITE OF ALL APPEARANCES, MR SHAW ALSO SUCCUMBS; BUT ANATOLE FRANCE ALONE UPHOLDS THE ANCIENT TRADITION OF VOLTAIRE, OF DEFOE AND SWIFT. HIS SATIRE IS ALWAYS EFFECTIVE BECAU IT IS ALWAYS LIGHT, ALWAYS POINTED AND ALWAYS SMILING. HE HAS NONE OF THE BITTERNESS OF SWIFT AND THEREFORE HE IS THE TRUER CYNIC, FOR T CYNICISM IS NOT FIERCE; IT IS ALWAYS GENIAL. HE NEVER LABOURS A POINT; HE STATES, PRESENTS THE CONTRASTS BETWEEN, FOR INSTANCE, WHAT A RICH man may do as opposed to a poor one, and then passes on, laughing, Pan-like dancing, with perhaps a tear or two in his laughter. THOUGH ALMOST EVERY BOOK HE HAS WRITTEN IS SATIRICAL IN INTENT, OR AT LEAST IN INCIDENT, FIVE VOLUMES ARE SATIRE PURE AND SIMPLE; AS HAVE NO SPACE TO ANALYSE ALL HIS WORKS, THESE FIVE REPRESENTATIVES MUST EXPOUND HIM. THEY ARE Penguin Island AND THE FOUR VOLUMES OF Contemporary History (The Elm Tree on the Mall, The Wickerwork Woman, L’Anneau d’Améthyste, Monsieur Bergeret à Paris). THEY OVERLAP A LITTLE, BUT THE SPIRIT WHICH INFORMS THEM IS DIFFERENT. Penguin Island IS BROAD, APPLICABLE TO THE WHOLE HISTORY OF MAN, WHILE THE OTHER FOUR VOLUMES COVER RATHER THE MODERN IRREGULARITIES OF THE FRENCH STATE. FOR THIS REASON, Penguin Island IS A BIGGER AND A FINER THING; INDEED IT IS PROBABLY THE BIGGEST THING ANATOLE FRANCE HAS DONE, BECAUSE, DEALING AS IT DOES WITH THE EARLIEST SUPERSTITIONS OF MAN, HIS FAITH IN GODS AND IN GOD, WITH THE RISE OF FEUDALISM, THE ROOTS OF DEMOCRACY, WAR, THE BIRTH OF ART, THE ACTION AN REACTION OF PARTIES, IT HAS A SWEEP SO LARGE THAT IT ENVELOPS EVEN AGES NOW IN THE WOMB OF TIME. IT IS A TERRIBLE BOOK, NOT SO MUCH BECAUSE IT IS THE THINLY VEILED HISTORY OF THE FRENCH PEOPLE—THAT IS TO SAY, THE STORY OF FOLLIES, MISERIES AND CRIMES (THE STORY OF ANY OT imperial people)—but BECAUSE AT THE END ANATOLE FRANCE REACHES FORTH INTO THE FUTURE. AND WHAT HE SEES IS A DEVELOPMENT OF CAPITALISM BY THE SIDE OF WHICH MODERN CAPITALISM IS AS A PULING CHILD; HE SUMMARISES IN A PHRASE A PERIOD OF GREATER NEW YORK: “THE HOUSES WERE NEVER HIGH ENOUGH.” HE SEES THE MASSES RISING, REVOLUTION, THE BREAK-UP OF THE SOCIAL SYSTEM, THE RETURN OF PASTORALISM, MAN ONCE MORE NOMADIC ... TOWNS FORMING ... ANOTHER ARISTOCRACY ... PARLIAMENTS ... INDUSTRY AND CAPITALISM FASTENING UPON THE WORLD, AND AGAIN TH HOUSES NEVER HIGH ENOUGH.... THAT IS A VISION OF HORROR, OF A WORLD UNCHANGING, UNCHANGEABLE, OF MAN AS A DOG EVER RETURNING TO HIS OWN VOMIT. I SHOULD LIKE TO PURSUE THE DREAM FURTHER, TO THE DEATH OF THE SUN, WHEN THE EARTH SHALL GROW COLD AND A TERRIBLE TERM BE BROUGH THE STUPIDITY OF MAN; HE SHALL ONCE MORE BE A FEARFUL BRUTE HIDING IN A CAVE, UNTIL AT LAST, UPON HIS COLD AND DYING GLOBE, AMONG SETTLI mists, he shall yield up the last spark of a misused life.... ANATOLE FRANCE IS CERTAINLY WRONG, FOR NO BARBARISM WHICH THE WORLD HAS EVER KNOWN EVER WAS SO BARBAROUS AS THE BARBARISM THAT WENT BEFORE. IF THE LIFE OF MAN DESCRIBES A CURVE, THIS IS NOT A CIRCLE; HE DOES NOT INTERMINABLY RETURN TO THE SAME POINT; RATHER THE CURVE A CYCLOID, EVER BENDING BACK UPON ITSELF AND YET SLOWLY MOVING ONWARDS TOWARDS THE UNKNOWN GOAL. ANATOLE FRANCE DOES NOT, I THINK, QUITE DENY THAT, BUT HE IS NOT OVER-FOND OF WHAT HE CALLS IDLE SPECULATION: WHERE HIS KNOWLEDGE STOPS HE IS INCLINED TO SAY: “AFTER ALL, WH does it matter to Sirius?” THE ISLAND WHERE THE PENGUINS LIVED WAS EVANGELISED BY ST MAEL, WHO QUITE NAÏVELY RELATES HOW HE NAVIGATED TO ITS SHORES IN A STONE TROUGH. GOD SERVED HIM AS RUDDER AND SAIL. IT WOULD HAVE BEEN ALL RIGHT IF THE SAINT HAD NOT BEEN SHORT-SIGHTED, BUT HE TOOK THE PENGUIN FOR MEN AND BAPTIZED THEM, WHICH GAVE RISE TO GREAT TROUBLE IN HEAVEN AND A WONDERFUL ECCLESIASTICAL DEBATE. FOR ST PATRICK SAID THA baptism could not AVAIL BIRDS; ST DAMASIUS SAID IT COULD, FOR MAEL WAS COMPETENT; ST GUENOLÉ SAID IT COULD NOT, BECAUSE PENGUINS WERE NOT CONCEIVED IN SIN; ST AUGUSTINE THOUGHT IT COULD IF GIVEN IN PROPER FORM. THIS CAUSED MUCH ILL FEELING IN PARADISE; TERTULLIAN GREW QU vicious and said he was sorry that the penguins had no soul, as thus they could not go to hell. The intervention of the Almighty was hailed WITH UNANIMOUS CHEERS, WHICH ST AUGUSTINE BACKED UP BY BEGGING HIM NOT TO GIVE THE PENGUINS A SOUL BECAUSE, AS THEY COULD NOT KEEP THE LAW, THEY WOULD BURN IN HELL “IN VIRTUE OF GOD’S ADORABLE DECREES.” UPON THIS THE DISTURBANCE TURNED TO SCANDAL, AND TO END IT T penguins were turned into men. THEN THE TROUBLES OF THE ONCE HAPPY BIRDS BEGAN. THEY WERE CLAD AND MODESTY WAS BORN. PROPERTY AROSE, AND MURDER. THE CATHOLIC DEVIL HAD A HAND IN THIS AND REMARKED THAT THE MURDERERS WERE CREATING RIGHTS, CONSTITUTING PROPERTY, LAYING THE BASES CIVILISATION, OF SOCIETY AND THE STATE. HE ADDED THAT THE SOURCE OF PROPERTY IS FORCE. LATER A STATE FORMED AND THE POOR ONLY WERE TAXED because they could not resist, and because there were more of them. A freebooter arose: he became a king. His armies went to war and WERE BELOVED, FOR THEY WON. ART APPEARED; MARGARITONE FORESAW THE DECADENCE OF ECCLESIASTICAL ART AND, IN A HORRID DREAM, SOMETHING LIKE POST-IMPRESSIONISM. THE PRIEST, MARBODE, VISITED VIRGIL IN HELL; THE LATIN POET REMARKED THAT DANTE WAS RATHER A BORE AND THAT CHR WAS THE GOD OF BARBARISM. THEN HISTORY UNROLLS. THERE IS A REVOLUTION (OBVIOUSLY 1789); TRINCO (NAPOLEON) APPEARS AND A LOYAL PENGUIN STATES THAT GLORY CANNOT COST TOO MUCH. MODERN TIMES GIVE ANATOLE FRANCE A YET GREATER CHANCE, FOR HE TAKES US TO NEW ATLANT (AMERICA), WHERE COMMERCIAL WARS ARE EXECUTED ON CONTRACT, BECAUSE A BUSINESS PEOPLE MUST HAVE A POLICY OF CONQUEST; THE EUROPEAN WAR OF 1914, IF ONE DIVES DEEP UNDER THE CRUST OF PATRIOTISM, SOUNDS VERY LIKE THE WAR OF NEW ATLANTIS AGAINST THIRD ZEALAND “WHERE THEY KILLED TWO-THIRDS OF THE INHABITANTS TO COMPEL THE REMAINING THIRD TO BUY FROM NEW ATLANTIS UMBRELLAS AND BRACES.” PLUTOCR SOCIALISM. ROYALIST AGITATIONS, SUPPORTED BY THE LEADERS OF THE ARMY, THE WINESHOPS, THE NEWSBOYS, THE POLICE AND THE COURTESANS. ALL THROUGH THIS SECTION RUNS THE PYROT CASE. A TRAITOR (DREYFUS) SOLD NINETY THOUSAND BUNDLES OF HAY TO THE FOREIGNER—THAT IS TO SAY, HE NOT SELL THEM, FOR THEY DID NOT EXIST. YET GENERAL PANTHER SAYS: “EVIDENTLY PYROT STOLE THEM, SO ALL WE HAVE TO DO IS TO PROVE IT.” TO W another General replies: “Arrest Pyrot. Find some evidence; the law demands it.” 28 29 30 31 32 33 34 THEN THE AGITATION, DIFFICULT BECAUSE THE PEOPLE LIKE TO BELIEVE IN GUILT AND ARE TOO STUPID TO DOUBT. STILL NO EVIDENCE, AND EVIDEN MANUFACTURED. HERE ANATOLE FRANCE PUTS INTO THE GENERAL’S MOUTH BEAUTIFUL PHRASES: “DON’T HAVE EVIDENCE; IT MAKES THE CASE LESS CLEAR”; AND: “IT MAY BE BETTER TO HAVE NO EVIDENCE, BUT STILL IF YOU MUST HAVE SOME, TRUMPED-UP EVIDENCE IS BETTER THAN THE TRUTH, FOR IT IS MADE TO ORDER.” AND SO ON THROUGH POPULAR AGITATIONS, ROYALIST MANŒUVRES, BOULANGISM, THE RENAISSANCE OF CATHOLICISM (SUPPORTED BY Jewish money), political adultery, the rule of gold, until we come to the time when houses are never high enough.... THIS IS NOT THE SATIRE OF ENGLISHMEN. IT HAS NOT THE TRUCULENCE OF DEFOE’S A Short Way with Dissenters; NOR DOES IT STATE THE AUTHOR’S VIEW AS DOES ANY ONE OF MR SHAW’S PLAYS; NOR IS IT SO VEILED AS Gulliver’s Travels. ALL THIS IS TOGETHER ELUSIVE AND OBVIOUS; IT AIMS AT SHOWING THE READER WHAT LIES UNDER HISTORY, MAN IN THE SOLDIER’S COAT, HIS MEANNESS, HIS GREED, HIS LUST FOR POWER, AND THE horrible, crusted stupidity to which alone are traceable his crimes. I SHOULD NOT ADVISE ANY ENGLISHMAN WHO IS NOT CONVERSANT WITH FRENCH HISTORY TO READ Penguin Island, BUT I SHOULD NOT ADVISE ANY ENGLISHMAN AT ALL TO READ THE FOUR VOLUMES OF Contemporary History unless he HAS LIVED IN FRANCE FOR THE LAST FIFTEEN YEARS AND MIXED IN EVERY KIND OF FRENCH SOCIETY. HE WILL FIND IN THOSE BOOKS DROLL STORIES, AND DROLL INCIDENTS; HE WILL SEE THAT THE AUTHOR IS GETTING SOMETHING, BUT THAT IS ALL. FOR THOSE VOLUMES DO NOT DEAL WITH THE BIG OUTER MOVEMENTS WHICH ONE CAN WATCH FROM THE COLUMNS OF The Times. THEY ARE CONCERNED WITH THE MYSTERIES INSIDE FRENCH POLITICS, PARALLELED HERE BY THE “CONFEDERATES,” THE MARCONI CASE, THE THEF OF THE CROWN JEWELS AT DUBLIN, THE SECRET HISTORY OF THE REBELLION OF THE OFFICERS AT THE CURRAGH. NO FRENCHMAN WOULD UNDERSTAND A BO DEALING WITH THOSE THINGS, SO IT IS TOO MUCH TO EXPECT AN ENGLISHMAN TO UNDERSTAND Contemporary History. THE CIRCUMSTANCES THAT LED TO THE WRITING OF THESE BOOKS ARE SIMPLE ENOUGH. THE DREYFUS CASE WAS USED AS A PLATFORM FOR CLERICAL, ROYALIST AND MILITARIST AGITATIO THE GOVERNMENT SET TO WORK TO BREAK THE CHURCH AND BROKE IT (AFTER WHICH THE CHURCH MENDED ITSELF AND BECAME STRONGER THAN EVER) THE NATIONALIST REVIVAL TOOK PLACE, AND SINCE THAT TIME THERE HAS BEEN MUCH MANŒUVRING, SOME INTENDED TO RESTORE THE BOURBONS AND QUITE RIDICULOUS, SOME OF IT DESIGNED TO GAIN WELL-PAID POSTS FOR REACTIONARIES, AND THAT ONE MUCH IN EARNEST. THE INTERESTING PARTS OF TH FOUR BOOKS ARE THE COMMENTARIES OF M. BERGERET, A UNIVERSITY PROFESSOR IN A LITTLE TOWN, WHO, I NEED HARDLY SAY, IS (JUST LIKE SYLVESTR BONNARD, COIGNARD, TRUBLET, BROTTEAUX) ANATOLE FRANCE HIMSELF. THE FOUR BOOKS, PUBLISHED BETWEEN 1897 AND 1901, MORE OR LESS COVER THAT PERIOD. IN The Elm Tree on the Mall UNFOLDS, WITH LOCAL POLITICS, THE LIFE OF BERGERET, MARRIED TO A SHREW, UNLOVED OF HIS DAUGHTERS, DISLIKED BY MOST PEOPLE BECAUSE HE THINKS FOR HIMSELF, WHICH AMOUNTS TO SAYING THAT HE DOES NOT THINK LIKE ANYBODY ELSE. ROUND HIM EDDY REPRESENTATIVE CHARACTERS, THE ABBÉ GUITREL, WHO WANTS TO BE A BISHOP AND IS PROCEEDING TOWARDS THE EPISCOPATE HALF BY APOSTOLIC MANSUETUDE, HALF BY WAY OF IGNATIUS OF LOYOLA; WORMS-CLAVELIN, THE préfet (CHIEF OF THE LOCAL EXECUTIVE), WHO IS A JEW, A FREEMASON, A CONSERVATIVE CATHOLIC, AN ADVANCED REPUBLICAN, A SOCIALIST, A ROYALIST AND A FEW OTHER THINGS NECESSARY TO THE MAINTENANCE OF HIS POST; HIS WIFE IS FRIENDLY TO GUITREL BECAUSE THE ABBÉ MAKES HER FEEL FRENCH (SHE WAS BORN NOEMI COBLENZ) AND BECAUSE SHE “LIKES TO PROTECT ONE OF THOSE TONSURED HEADS CHARGED FOR EIGHTEEN CENTURIES WITH THE EXCOMMUNICATION AND EXTERMINATION OF THE CIRCUMCISED.” THERE IS GENERAL DE CHALMOT, A SOLDIER, WHO THINKS THAT IF YOU DESTROY BELIEF YOU RUIN THE MILITARY SPIRIT, BECAUSE Y TAKE AWAY THE HOPE OF ANOTHER LIFE; THERE IS PAILLOT’S BOOKSHOP WHERE BERGERET MEETS THE COUNTY, THE LAWYERS, THE DOCTORS, TO TALK books, politics, actresses and their figures.... NOTHING IN PARTICULAR HAPPENS. GUITREL’S BISHOPRIC IS THE LEADING STRING OF THE ACTION; THERE IS MADAME WORMS-CLAVELIN HELPIN GUITREL, WHO FINDS HER, AT BARGAIN PRICES, CHASUBLES WITH WHICH SHE COVERS HER ARMCHAIRS; THERE IS A YOUNG GIRL, CLAUDINE DENISEAU, WHO, inspired by St Radegunde, BECOMES A PROPHETESS, INDULGES IN HEALING, PREDICTS FROST AND THE RETURN OF THE KING; THERE IS WORMS-CLAVELIN, TRYING TO KEEP THE PROPHETESS QUIET, BECAUSE SO ANCIENT A PERSON AS ST RADEGUNDE OUGHT REALLY NOT TO CAUSE A ROW IN A COUNTRY TOWN. AN OLD LADY OF EIGHTY IS MURDERED BY HER BOY-LOVER, WHICH CAUSES BERGERET TO REMARK THAT MURDER IS QUITE NATURAL AND FORTUNATE, FOR WITH EVIL ONE COULD NOT SEE BEAUTY. WORMS-CLAVELIN KISSES MADAME DE GROMANCE ON THE SHOULDER, (A LOCAL CUSTOM); A SENATOR PROMOTES SHADY COMPANIES WHILE HIS WIFE EMBROIDERS ALTAR-CLOTHS; AND SOMEHOW THE STORY ENDS WITH GUITREL VERY MUCH OUT OF THE RUNNING FOR TH episcopal stakes. WHAT MATTERS IN THE BOOK IS BERGERET, SITTING UNDER THE ELM-TREE ON THE MALL, OR IN THE BOOKSHOP, THINKING, TALKING, SMILING AT COMEDY. NOTABLE ARE HIS TALKS WITH LANTAIGNE, ANOTHER CANDIDATE FOR THE BISHOPRIC, AND THE TYPE OF THE INTELLECTUAL PRIEST. ANATOLE F MAY DETEST THE CATHOLIC ATTITUDE, BUT HE UNDERSTANDS IT ADMIRABLY, AND WHEN LANTAIGNE CONTENDS THAT ONE CAN HAVE TWO OPINIONS, ONE CONSCIOUS AND RATIONALISTIC, THE OTHER INTUITIVE AND THEOLOGICAL, HE MAKES A VERY FINE CASE. FOR HIM, IN THE CASE OF JOSHUA, CELESTIA ASTRONOMY IS NOT THE ASTRONOMY OF MAN, AND IN CELESTIAL MATHEMATICS, 3 + 3 MAY MAKE NINE, BECAUSE WE DO NOT KNOW ALL THE PROPERTIES OF NUMBERS. AT OTHER TIMES BERGERET, WHO TALKS TO ANYBODY, TELLS THE MELANCHOLIC STORY OF NAPOLEON III., WHO NEVER MANAGED TO GRA HIS FOSTER-BROTHER A SMALL POST IN THE CIVIL SERVICE: “THE EMPEROR WAS A CHARMING FELLOW BUT, ALAS, HE HAD NO INFLUENCE.” AND SO THE BOOK WANDERS ON WITH THE OPINIONS OF BERGERET, HAPPY, LIKE ÆSOP, IN THE FREEDOM OF HIS MIND, IN SPITE OF THE NARROWNESS OF HIS HOME, CONSCIOUS THAT THE STATE IS HONOURED SO LONG AS IT TAXES THE POOR, AND THAT THE REPUBLIC IS EASIEST TO LIVE UNDER BECAUSE IT DOES NOT GOVER much, that revolutions help none save the flourishing and the ambitious. It would all be profoundly pessimistic if it were not always genial. ONE FEELS SURE THAT IF BERGERET HAD AN AGREEABLE WIFE, A GOOD COOK, AND A VOLUME OF LUCRETIUS (OH, OMAR!), HE WOULD LET THE STATE D just what it liked. THE STORY CONTINUES IN The Wickerwork Woman, WITH BERGERET WORKING UP HIS LECTURE IN THE WORST ROOM IN HIS FLAT, WHERE STANDS THE WICKERWORK FIGURE USED FOR DRESS-MAKING, SYMBOLIC OF HIS UNPLEASANT WIFE. HE GRUMBLES, AND THEN CONSIDERS THE ROMANS. “THEY WERE NOT HEROES, THEY PREFERRED MAKING ROADS, THEY ONLY MADE WAR FOR BUSINESS REASONS.” HE THINKS OF SOLDIERS AND WONDERS WHETHER THE SERGEANT HAS A RIGHT TO TELL A CONSCRIPT THAT HIS MOTHER IS A SOW: HE DECIDES THAT THE SERGEANT HAS THIS RIGHT, FOR WITHOUT IT THERE C NO HIERARCHY OR DISCIPLINE. THEN THE COOK GIVES NOTICE, AND GUITREL GOES TO PARIS WHILE BERGERET TALKS TO A TRAMP WHO SAYS THAT WHEN H was young he lost his pride because people made fun of him.... THE TOWN IS GREATLY UPSET BECAUSE THE PROPHETESS CANNOT GIVE THE LOGARITHM OF NINE. (ANOTHER CASE OF CELESTIAL MATHEMATICS?) MADAME DE GROMANCE PASSES, AND BERGERET REFLECTS THAT TO SEE A PRETTY WOMAN IS A STROKE OF LUCK FOR AN HONEST MAN. HE IS “GRATEFUL TO HER FOR DRESSING WITH ART AND DISCRETION.” BUT TRAGEDY INVADES THE BERGERET HOUSEHOLD, FOR ROUX, A PUPIL, BECOMES THE LOVER OF MADAME BERGERET ... IN CIRCUMSTANCES WHICH MAKE IT IMPOSSIBLE FOR THE PROFESSOR TO DOUBT HIS EYES. AFTER A MURDEROUS MOMENT BERGERET DECIDES THAT THIS IS ALL REALLY VERY TRIFLING, THROWS THE WICKERWORK FIGURE THROUGH THE WINDOW, AND GOES OUT TO TALK TO PAILLOT, THE BOOKSE 35 36 37 38 39 40 41 42 REFLECTS VAGUELY ON ADULTERY AND ITS MEANINGLESSNESS. GUITREL AND THE ARCHDEACON HOLD AN EARNEST DISCUSSION ON OMELETTES. INSPIRED BY MARCUS AURELIUS, BERGERET CONCLUDES THAT THE ART OF LIFE IS A BENEVOLENT CONTEMPT FOR MAN: ALL ANATOLE FRANCE IS THERE. FOR HIM T lovers were chimpanzees, and he feels a little superior because he is “a meditative chimpanzee.” THE CONVERSATIONS CONTINUE TO DEVELOP. FREMONT, INSPECTOR OF FINE ARTS, IS “PATRIOTIC, EVEN IN ART”; WORMS-CLAVELIN STATES THAT H LOATHES THE EMPIRE, BUT ADDS: “STILL WE MAKE WINE, GROW CORN, AS UNDER THE EMPEROR ... WE WORK ON THE STOCK EXCHANGE, EAT, DRINK, make love as under the emperor.” The upshot is: “Don’t touch the machine, for it will be all the same whatever you do.” The execution of the murderer of the old lady enables Bergeret to state his views, which are, as usual, exceedingly unpopular, for he WILL NOT HAVE IT THAT THE MURDERER WAS A DEGENERATE: HAD NOT MITHRIDATES A DOUBLE ROW OF TEETH? NOR SHALL TATTOOING PROVE THE CRIME ARE NOT FASHIONABLE TRAVELLERS TATTOOED? AND THEN HE WANDERS OFF ON THE FICTION OF THE ARISTOCRATIC TYPE IN WOMAN, WHICH IS ENTI DERIVED FROM THE SMART SHOPGIRL AND THE PLEBEIAN ACTRESS. THE SHADY SENATOR IS ARRESTED, BUT RELEASED, SAYS HIS WIFE, OWING TO THE INTERVENTION OF THE ALMIGHTY. MEANWHILE BERGERET REFUSES TO SPEAK TO HIS UNFAITHFUL WIFE, WHICH CAUSES GREAT TROUBLE IN THE HOUSE, BECAUSE THE COOK, DISLIKING THE GOINGS-ON, GIVES NOTICE AGAIN; THE NEW COOK CAN MAKE ONLY ONE KIND OF SOUP, WHICH IS VERY ANNOYING. And so the book rambles on until Madame Bergeret, unable to bear dumb disdain, leaves with her two daughters. BEFORE LEAVING SHE HAS DISGRACED HERSELF AGAIN WITH LACARELLE, “THE GAUL,” WHO ONLY MADE LOVE TO HER BECAUSE HIS MOUSTACHE WAS SO LONG THAT THIS WAS EXPECTED OF HIM. THE DREYFUS CASE IS BEGINNING TO BUBBLE, AND GUITREL, FRIENDLY TO THE préfet, FINDS IT DIFFICULT TO DEFEND THE JEWS, EXCEPT “THE CONVERTED ONES WHO HAVE DONE A LOT FOR THE CHURCH BY THEIR WEALTH.” LONG STORY OF SAINT AUSTREGISILE, AND OF T VIRGIN’S MIRACULOUS FOOT. HONORINE, THE VISIONARY, HAS A MIRACULOUS TRANCE, AND THEN RETIRES INTO A BUSH TO MAKE LOVE TO A TRAMP. FAT AN BEAUTIFUL MADAME DE BONMONT ENTERTAINS GUITREL. HISTORY OF THE RISE OF THIS COUNTY FAMILY, LATE NATHAN, AND OF MADAME DE BONMON love-making with Raoul, duellist AND GAMBLER, ILLUSTRIOUS BECAUSE HE FOUGHT A JEW WHO HAD IN A CAFÉ ASKED FOR THE ARMY LIST AND THEREBY OUTRAGED THE FRENCH FLAG. AS THE AGITATION PROGRESSES, THE LOYAL POPULACE SACKS THE SHOP OF MEYER, THE BOOTMAKER, AND RETIRES, HAVING STRUCK A GOOD BLOW FOR THEIR COUNTRY. IN THESE DAYS BERGERET IS HAPPY, TALKING TO RIQUET, HIS DOG, “A RELIGIOUS BEAST,” THINKING AND TALKI of Hercules, whom he looks upon as a sort of boxer at a fair, and of the history of Spain.... Little boys pass, shouting: “Down with Zola!...” BERGERET IS A DREYFUSIST. IT DOES NOT MAKE HIM ANY MORE POPULAR THAN HE BECAME WHEN HE SAID THAT JOAN OF ARC WAS ONLY A MILITARY MASCOT. BERGERET WISTFULLY BEGINS TO DESIRE MADAME DE GROMANCE, BUT KNOWS THAT HE HAS NO CHANCE; SO HE RETURNS TO HIS THOUGHTS AND TO THE ALL-PERVADING DREYFUS CASE, REALISING THAT THE CROWD CANNOT REASON, THAT “IT HOLDS WITH ESTABLISHED ERROR.” YOUNG DE BONMO MEANWHILE SENDS HIS BEAUTIFUL MOTHER TO SEE A MOST GLAD-EYED CABINET MINISTER WHO HAS POWER TO MAKE GUITREL A BISHOP, BECAUSE IF Guitrel is made a bishop he can induce the local duke to invite young de Bonmont to the hunt. One is sorry for Madame de Bonmont, so FAT AND SO INNOCENT, BUT ONE DOES NOT FEEL SORRY WHEN YOUNG DELLION, WHO IS FOR THE TIME BEING FAVOURED OF MADAME DE GROMANCE, ENLISTS HER INFLUENCE ON THE SIDE OF GUITREL, AND WHILE SHE IS PUTTING ON HER STAYS DISCUSSES THE FUTURE OF THE BISHOPRIC. THE TALK VEERS FASHIONS, AND WHILE SHE ATTACHES HER SUSPENDERS MADAME DE GROMANCE ARGUES WHETHER HIS MOTHER, MADAME DELLION, WAS TRULY VIRTUOUS. MEANWHILE MADAME WORMS-CLAVELIN, ALSO SUPPORTING GUITREL, MAKES—WELL, LET US SAY, GREAT CONCESSIONS TO THE SECRETARY OF THE Cabinet minister, in the cause of chasubles at bargain prices and of good government.... BERGERET CONTINUES TO ATTACK MOST THINGS: ANTISEMITISM, BECAUSE HE IS NOT BIG ENOUGH TO HATE NINETY THOUSAND PEOPLE; NATIONALITY BECAUSE THERE IS NO SUCH THING, FOR THE ALLEGED FRENCH ARE ONLY GAULS, IBERIANS, CELTS, ROMANS, FRANKS AND SARACENS. GUITREL, MADE A BISHOP, IS BROKEN FOR ATTACKING THE GOVERNMENT, WHILE POOR MADAME DE BONMONT LEAVES HER AMETHYST RING ON RAOUL’S BEDROOM mantelpiece. IN THE LAST VOLUME, BERGERET, NOW A PROFESSOR IN PARIS, REFLECTS ON THE QUALITY OF MEAT, THE SOUL OF DOGS, AND THE ESSENCE OF HEROISM PANNETON DE LA BARGE DELIVERS A PASSIONATE SPEECH ON THE ARMY WHICH IS “THE CONSOLATION OF THE PRESENT AND THE HOPE OF THE FUTURE,” AND ENDS BY ENLISTING BERGERET’S INFLUENCE TO GET HIS SON OUT OF TWO YEARS’ MILITARY SERVICE. MADAME DE BONMONT HAS NOW FALLEN INTO THE ARM OF LACRISSE, SECRETARY OF THE ROYALIST GROUP, FOR SHE WISHES TO SAVE FRANCE. LACRISSE’S CHIEF OCCUPATION IS TO COACH GENERALS IN EVIDENCE TO BE USED AT THE DREYFUS TRIAL. CONSPIRACY. A LETTER FROM THE PRETENDER; GREAT SENSATION WHICH LEADS TO THE CONQUEST OF LACRISSE, F MADAME DE BONMONT GIVES HIM “A HISTORIC EMBRACE.” HE THEN COMPELS HER RELUCTANTLY TO SUBSCRIBE TO THE FUNDS. ROYALIST FÊTE. AND PANNETON BEGINS TO COOK THE LOCAL ELECTIONS WITH THE HELP OF MADAME DE GROMANCE: HE FINDS THAT THE ONE PLACE WHERE THEY CAN TAL politics is a flat furnished with a graduated series of sofas. MEANWHILE BERGERET INDULGES IN CHARITY TO A BEGGAR CALLED CLOPINEL, AND THEN REMARKS: “I HAVE DONE WRONG, I HAVE GIVEN ALMS ... I HAVE TASTED THE SHAMEFUL JOY OF ABASING MY FELLOW-MAN, I HAVE SIGNED THE ODIOUS PACT WHICH PRESERVES STRENGTH FOR THE STRONG, WEAKNESS FOR THE WEAK. I HAVE SOLD TO MY BROTHER FRATERNITY AT SHORT WEIGHT.... I HAVE BEEN TEMPTED. OH, SEDUCER! OH DANGEROUS CLOPINEL! Delicious Clopinel....” SLUMP IN ROYALIST PLOTS, ARRESTS. LACRISSE STANDS FOR THE TOWN COUNCIL AS A REPUBLICAN LIBERAL, WITH THE HELP OF FATHER ADÉODAT, W WILL LET HIM BE A REPUBLICAN IN PUBLIC IF ONLY HE WILL BE A TRUE MAN IN COMMITTEE. AND THE CONTEMPORARY HISTORY ENDS AT A ROYALIST DINN PARTY, ON MEMORIES OF A RIOT, THE TRIUMPH OF MR LOUBET, WHO TRIUMPHED JUST BECAUSE HE HAPPENED TO BE THERE; THIS IS THE DOWNFALL OF reactionary and clerical hopes, but Madame de Gromance gives up to Dellion her hospitable heart.... IT ALL SOUNDS RATHER CRUEL, AND THERE ARE TOUCHES, SUCH AS LACRISSE COACHING GENERALS IN THE EVIDENCE THEY WILL DELIVER AGAIN DREYFUS, SUCH AS THE DESCRIPTION OF M. DE LA BARGE TRYING TO GET HIS SON OUT OF MILITARY SERVICE AFTER PROCLAIMING THAT THE ARMY IS THE ID OF HIS SOUL, WHICH PROVOKE IN THE READER JUST WHAT ANATOLE FRANCE WANTS: NOT LAUGHTER, BUT AN IRONIC, LINGERING, VINEGARY SMILE. TIME AFT TIME, IN EVERY ONE OF HIS BOOKS HE OBTAINS THIS EFFECT; IT IS THE EFFECT OF SHARP CONTRAST, OF SUDDENNESS; IT RECALLS A PAGE OF MACHIAVELL WHO, AFTER DESCRIBING HOW AN ITALIAN TYRANT HAD ONE OF HIS MINISTERS SAWN IN HALF, ALIVE, IN THE MARKET-PLACE, GOES ON: “BUT TO RETURN more important things....” THAT PRODUCES A SHOCK, AND WHEN APPLIED TO IRONY THIS IS AN EFFECT STILL MORE POWERFUL THAN WHEN IT IS APPLIED TO FICTION, AS, FOR INSTANCE, IN AMBROSE BIERCE’S An Occurrence at Owl Creek Bridge. BUT THE IRONY IS NOT ARTIFICIAL: IT IS THE SORT OF IRONY GIVEN TO THOSE 43 44 45 46 47 48 49 50 WHO WALK THE WORLD WITH THEIR EYES OPEN. IT INSPIRES THE FEELING OF AMUSEMENT WHICH INVADED A FEW OF US DURING THE GREAT EUROPEAN WAR WHEN WE READ IN THE NEWSPAPERS ARTICLES ABOUT RUSSIAN CULTURE, AND REMEMBERED WHAT THE SAME NEWSPAPERS USED TO SAY ABOUT THE BEAR. I COULD NOT HELP SMILING AT OUR ATTITUDE TO THE SAUSAGE-EATERS WHEN RECALLING HOW COMPLETELY WE HAD FORGOTTEN THE FROG-EATERS CANDLE-EATERS OF TIMES GONE BY. VERY LIKELY, THOUGH THE WAR ROUSED HIM TO ACTION IN DEFENCE OF ANCIENT FRENCH CULTURE, ANATOLE FRAN CHUCKLED OVER THE INTIMATE FRIENDSHIP BETWEEN FRANCE AND ENGLAND, WHICH, IN 1898, AT THE TIME OF FASHODA, AND IN 1899, AT THE TIME OF THE BOER WAR, WAS SUCH AN INTIMATE HATRED. HE WOULD HAVE CHUCKLED STILL MORE HAD HE KNOWN THAT A PATRIOTIC ENGLISH INN-KEEPER HAD CHANGED THE NAME OF HIS TAVERN FROM “THE KING OF PRUSSIA” TO “THE CZAR’S HEAD.” FOR HISTORY HAS STAYING POWER, AND ONE WONDERS A LITTLE WHETHER, AS GENERATIONS PASS, “THE CZAR’S HEAD” MAY NOT HAVE TO TURN INTO “THE ROOSEVELT ARMS,” “THE GARIBALDI,” OR PERHAPS one day into “The Chung Ling Soo....” BUT IRONIC AS IT ALL IS, IT IS VERY LIVING. THIS SHOULD STRIKE NOBODY AS EXTRAORDINARY, FOR LIFE IS MOST IRONIC: IT WOULD BE QUITE INTOLER TO SOME OF US IF IT WERE NOT. BUT THIS IS WORTH SAYING BECAUSE A GREAT MANY OTHER SATIRISTS—SWIFT, RABELAIS, CERVANTES—OBTAIN MOST O THEIR EFFECTS BY DISTORTION. ANATOLE FRANCE OBTAINS HIS BY BRINGING OUT THE ESSENTIAL INCONGRUITY OF LIFE: FUNERALS PASSING UNDER THE WINDO OF THE RITZ WHERE THERE IS A SMART LUNCHEON-PARTY, SERMONS BIDDING US LOVE OUR ENEMIES WHILE NEWSBOYS SHOUT CASUALTY LISTS; LIFE IS FULL O IT. THAT IS WHY THE ARCHDEACON AND ANOTHER CLERIC HOLD, IN THE MIDST OF A THEOLOGICAL CRISIS, THAT EARNEST ARGUMENT ABOUT OMELETTES. LIFE AND PEOPLE ARE LIKE THAT, AND THERE IS NOTHING AT ALL DISTORTED IN THE DIPLOMATIC, FURRY, SOFT-SPOKEN PRIESTS WHO ... WELL, LET US SAY, DO DISCOURAGE THEIR FAIR PENITENTS FROM COMMITTING ADULTERY WITH POWERFUL REPUBLICANS, PROVIDED THIS SERVES A GOOD CAUSE. AFTER ALL JUDITH AND JAEL, AND ALL THAT. AND IT DOES NOT SEEM MONSTROUS THAT THE NEW BISHOP SHOULD BE SELECTED WHILE MADAME DE GROMANCE DOES UP HER suspenders, for it is quite conceivable that lovers should now and then, at intervals, talk politics. AND HE IS FAIR. HE IS NOT FAIR LIKE BYRON, WHO HATED MOST PEOPLE AND DISLIKED THE OTHERS, BUT BECAUSE HE CAN SEE ODDITY AND OCCASIONALLY BEASTLINESS IN THE PEOPLE OF WHOM HE APPROVES. HE IS FOR THE JEWS IN THIS DREYFUS QUARREL, BUT THAT DOES NOT MAKE HIM ANTI- CHRISTIAN; HE IS AS IMPARTIAL IN HIS ATTACKS AS A MOSQUITO. INDEED A GREAT MANY JEWS WISH THEY HAD BEEN SAVED FROM THEIR FRIEND, FOR PICTURES SUCH AS THAT OF MADAME WORMS-CLAVELIN AND HER HUSBAND, OF MADAME DE BONMONT, THAT MOST CHRISTIAN OF JEWESSES, ANXIOUS TO FORGET THE TENT OF HIDES, REMEMBERING IN THE MOST SACRED (AND EVEN MOST AMOROUS) MOMENTS THAT THERE IS SUCH A THING AS A STOCK Exchange, are not always kind. BUT, KIND OR UNKIND, THE SATIRE IS NEVER LAID ON THICKLY. NOT ONCE DOES ANATOLE FRANCE SUGGEST THAT MADEMOISELLE DENISEAU IS A sham prophetess: no, that would be clumsy; she merely cannot give the logarithm of nine.... IN THOSE FOUR BOOKS MODERN FRENCH SOCIETY STANDS FORTH QUITE STARK, WITH A RATHER DECAYED CHARM, A NAÏVETÉ BORN FROM AN EXCESS OF COMPLEXITY. ANATOLE FRANCE STRIPS IT OF ALL ITS GEWGAWS, PATRIOTISM, FAITH, MORALITY: OF ALL ITS LITTLE AFFECTATIONS; ... AND THEN, HAVING E IT, HE CONSENTS TO LOVE IT BECAUSE HIS SATIRE RESTS ON HIS PHILOSOPHY. THAT PHILOSOPHY, WITH WHICH I DEAL FURTHER ON, IS ENUNCIATED IN EVERY VOLUME BY THE NICE OLD GENTLEMEN WHO EMBODY HIM, BONNARD, BERGERET AND THE OTHERS: IRONY AND PITY; DESPISE MAN BUT LOVE HIM, SEE HIS WEAKNESS AND YET HOPE; HE MAY NOT BE IMMORTAL, YET HE IS ETERNAL, INDESTRUCTIBLE AS ALL MATTER; AND THOUGH HE BE NO MORE THAN A MITE I CHEESE YET HE IS THE EXPRESSION OF LIFE, THE SOUL OF BEAUTY, THE ONE THING IN THE WORLD WHICH IS HOLY. FOR ANATOLE FRANCE IS SWEET AND PITIFUL. ALL THROUGH HIS WORK WE FEEL THAT, AND IN NONE SO MUCH AS IN A LITTLE STORY, Crainquebille. THIS IS THE SIMPLE TALE OF AN OLD HAWKER WHO WAS RUN IN FOR NOT MOVING ON, JUST BECAUSE HE WAS WAITING FOR SIXPENCE OWED TO HIM FOR VEGETABLES. THE POLICEMAN TRUMPED UP AGAINST HIM A CHARGE OF HAVING SHOUTED “DOWN WITH THE PEELERS!” WHEN HE COMES OUT OF GAOL CRAINQUEBILLE IS OSTRACISED; THAT MAKES HIM QUARRELSOME; THEN, HAVING NO FRIENDS, HE DRINKS; BECOMING DRUNKEN, HE LOSES HIS CUSTOMERS AND SINKS DEEPER AND DEEPER INTO POVERTY. AND THE TERRIBLE INDICTMENT OF THE LAW THAT MAKES CRIMINALS BY LISTENING TO THE STRONG AND FLOUTING THE POOR, ENDS ON THE PICTURE O CRAINQUEBILLE, FORLORN, DEGRADED AND STARVING, GOING UP TO A POLICEMAN AND SHOUTING: “DOWN WITH THE PEELERS!” SO AS TO GET A NIGHT’S lodging in the cells. But, irony of ironies, this policeman shrugs his shoulders, and walks away. IT WOULD NOT BE RIGHT TO END THIS CHAPTER WITHOUT SAYING A FEW WORDS ABOUT ANATOLE FRANCE IN HIS MORE LITERAL RÔLE OF CRITIC. HE DONE AN IMMENSE AMOUNT OF LITERARY CRITICISM IN Le Temps AND IN SCATTERED ARTICLES, MOST OF WHICH HAVE BEEN COLLECTED IN THE FOUR VOLUMES OF On Life and Letters AND IN Le Génie Latin. HE IS SYMPATHETIC AND KINDLY IN THE EXTREME WHEN DEALING WITH THE WORK OF YOUNG MEN, PARTICULARLY IF THEY ARE SCHOLARS, IF THEY ARE INTERESTED IN THE THINGS HE LOVES, MEDIÆVALISM, SCULPTURE, HISTORY, ETC., AND HE W FORGIVE A GREAT DEAL TO GOOD INTENTIONS, BUT WHEN HE DOES NOT LIKE A BOOK ANATOLE FRANCE IS A TERRIBLE REVIEWER, SO TERRIBLE A REVIEWE THAT I TRUST THIS LITTLE MONOGRAPH WILL NOT FALL INTO HIS HANDS. IGNORING THEN THE GENTLER SIDE OF HIM, I WILL REPRODUCE TWO EXTRACTS CRITICISMS. THE FIRST IS FROM A REVIEW OF GEORGES OHNET’S BOOK, ENTITLED Will. MR GEORGES OHNET, AS I SUPPOSE EVERYBODY KNOWS, HAS FOR A LONG TIME ENJOYED GREAT VOGUE IN FRANCE FOR, HAVE NO ILLUSIONS ABOUT IT, THE FRENCH ARE NO MORE LITERARY THAN WE ARE AND HAVE PAS...