In the late afternoon the journalist and the neophyte went to the Luxembourg, and sat down under the trees in that part of the gardens which lies between the broad Avenue de l’Observatoire and the Rue de l’Ouest. The Rue de l’Ouest at that time was a long morass, bounded by planks and market-gardens; the houses were all at the end nearest the Rue de Vaugirard; and the walk through the gardens was so little frequented, that at the hour when Paris dines, two lovers might fall out and exchange the earnest of reconciliation without fear of intruders. The only possible spoil-sport was the pensioner on duty at the little iron gate on the Rue de l’Ouest, if that gray-headed veteran should take it into his head to lengthen his monotonous beat. There, on a bench beneath the lime-trees, Etienne Lousteau sat and listened to sample-sonnets from the Marguerites.
Etienne Lousteau, after a two-years’ apprenticeship, was on the staff of a newspaper; he had his foot in the stirrup; he reckoned some of the celebrities of the day among his friends; altogether, he was an imposing personage in Lucien’s eyes. Wherefore, while Lucien untied the string about the Marguerites, he judged it necessary to make some sort of preface.
“The sonnet, monsieur,” said he, “is one of the most difficult forms of poetry. It has fallen almost entirely into disuse. No Frenchman can hope to rival Petrarch; for the language in which the Italian wrote, being so infinitely more pliant than French, lends itself to play of thought which our positivism (pardon the use of the expression) rejects. So it seemed to me that a volume of sonnets would be something quite new. Victor Hugo has appropriated the old, Canalis writes lighter verse, Beranger has monopolized songs, Casimir Delavigne has taken tragedy, and Lamartine the poetry of meditation.”
“Are you a ‘Classic’ or a ‘Romantic’?” inquired Lousteau.
Lucien’s astonishment betrayed such complete ignorance of the state of affairs in the republic of letters, that Lousteau thought it necessary to enlighten him.
“You have come up in the middle of a pitched battle, my dear fellow; you must make your decision at once. Literature is divided, in the first place, into several zones, but our great men are ranged in two hostile camps. The Royalists are ‘Romantics,’ the Liberals are ‘Classics.’ The divergence of taste in matters literary and divergence of political opinion coincide; and the result is a war with weapons of every sort, double-edged witticisms, subtle calumnies and nicknames a outrance, between the rising and the waning glory, and ink is shed in torrents. The odd part of it is that the Royalist-Romantics are all for liberty in literature, and for repealing laws and conventions; while the Liberal-Classics are for maintaining the unities, the Alexandrine, and the classical theme. So opinions in politics on either side are directly at variance with literary taste. If you are eclectic, you will have no one for you. Which side do you take?”
“Which is the winning side?”
“The Liberal newspapers have far more subscribers than the Royalist and Ministerial journals; still, though Canalis is for Church and King, and patronized by the Court and the clergy, he reaches other readers. — Pshaw! sonnets date back to an epoch before Boileau’s time,” said Etienne, seeing Lucien’s dismay at the prospect of choosing between two banners. “Be a Romantic. The Romantics are young men, and the Classics are pedants; the Romantics will gain the day.”
The word “pedant” was the latest epithet taken up by Romantic journalism to heap confusion on the Classical faction.
Lucien began to read, choosing first of all the title-sonnets.
EASTER DAISIES.
The daisies in the meadows, not in vain,
In red and white and gold before our eyes,
Have written an idyll for man’s sympathies,
And set his heart’s desire in language plain.
Gold stamens set in silver filigrane
Reveal the treasures which we idolize;
And all the cost of struggle for the prize
Is symboled by a secret blood-red stain.
Was it because your petals once uncurled
When Jesus rose upon a fairer world,
And from wings shaken for a heav’nward flight
Shed grace, that still as autumn reappears
You bloom again to tell of dead delight,
To bring us back the flower of twenty years?
Lucien felt piqued by Lousteau’s complete indifference during the reading of the sonnet; he was unfamiliar as yet with the disconcerting impassibility of the professional critic, wearied by much reading of poetry, prose, and plays. Lucien was accustomed to applause. He choked down his disappointment and read another, a favorite with Mme. de Bargeton and with some of his friends in the Rue des Quatre-Vents.
“This one, perhaps, will draw a word from him,” he thought.
THE MARGUERITE.
I am the Marguerite, fair and tall I grew
In velvet meadows, ‘mid the flowers a star.
They sought me for my beauty near and far;
My dawn, I thought, should be for ever new.
But now an all unwished-for gift I rue,
A fatal ray of knowledge shed to mar
My radiant star-crown grown oracular,
For I must speak and give an answer true.
An end of silence and of quiet days,
The Lover with two words my counsel prays;
And when my secret from my heart is reft,
When all my silver petals scattered lie,
I am the only flower neglected left,
Cast down and trodden under foot to die.
At the end, the poet looked up at his Aristarchus. Etienne Lousteau was gazing at the trees in the Pepiniere.
“Well?” asked Lucien.
“Well, my dear fellow, go on! I am listening to you, am I not? That fact in itself is as good as praise in Paris.”
“Have you had enough?” Lucien asked.
“Go on,” the other answered abruptly enough.
Lucien proceeded to read the following sonnet, but his heart was dead within him; Lousteau’s inscrutable composure froze his utterance. If he had come a little further upon the road, he would have known that between writer and writer silence or abrupt speech, under such circumstances, is a betrayal of jealousy, and outspoken admiration means a sense of relief over the discovery that the work is not above the average after all.
THE CAMELLIA.
In Nature’s book, if rightly understood,
The rose means love, and red for beauty glows;
A pure, sweet spirit in the violet blows,
And bright the lily gleams in lowlihood.
But this strange bloom, by sun and wind unwooed,
Seems to expand and blossom ‘mid the snows,
A lily sceptreless, a scentless rose,
For dainty listlessness of maidenhood.
Yet at the opera house the petals trace
For modesty a fitting aureole;
An alabaster wreath to lay, methought,
In dusky hair o’er some fair woman’s face
Which kindles ev’n such love within the soul
As sculptured marble forms by Phidias wrought.
“What do you think of my poor sonnets?” Lucien asked, coming straight to the point.
“Do you want the truth?”
“I am young enough to like the truth, and so anxious to succeed that I can hear it without taking offence, but not without despair,” replied Lucien.
“Well, my dear fellow, the first sonnet, from its involved style, was evidently written at Angouleme; it gave you so much trouble, no doubt, that you cannot give it up. The second and third smack of Paris already; but read us one more sonnet,” he added, with a gesture that seemed charming to the provincial.
Encouraged by the request, Lucien read with more confidence, choosing a sonnet which d’Arthez and Bridau liked best, perhaps on account of its color.
THE TULIP.
I am the Tulip from Batavia’s shore;
The thrifty Fleming for my beauty rare
Pays a ki
ng’s ransom, when that I am fair,
And tall, and straight, and pure my petal’s core.
And, like some Yolande of the days of yore,
My long and amply folded skirts I wear,
O’er-painted with the blazon that I bear
— Gules, a fess azure; purpure, fretty, or.
The fingers of the Gardener divine
Have woven for me my vesture fair and fine,
Of threads of sunlight and of purple stain;
No flower so glorious in the garden bed,
But Nature, woe is me, no fragrance shed
Within my cup of Orient porcelain.
“Well?” asked Lucien after a pause, immeasurably long, as it seemed to him.
“My dear fellow,” Etienne said, gravely surveying the tips of Lucien’s boots (he had brought the pair from Angouleme, and was wearing them out). “My dear fellow, I strongly recommend you to put your ink on your boots to save blacking, and to take your pens for toothpicks, so that when you come away from Flicoteaux’s you can swagger along this picturesque alley looking as if you had dined. Get a situation of any sort or description. Run errands for a bailiff if you have the heart, be a shopman if your back is strong enough, enlist if you happen to have a taste for military music. You have the stuff of three poets in you; but before you can reach your public, you will have time to die of starvation six times over, if you intend to live on the proceeds of your poetry, that is. And from your too unsophisticated discourse, it would seem to be your intention to coin money out of your inkstand.
“I say nothing as to your verses; they are a good deal better than all the poetical wares that are cumbering the ground in booksellers’ backshops just now. Elegant ‘nightingales’ of that sort cost a little more than the others, because they are printed on hand-made paper, but they nearly all of them come down at last to the banks of the Seine. You may study their range of notes there any day if you care to make an instructive pilgrimage along the Quais from old Jerome’s stall by the Pont Notre Dame to the Pont Royal. You will find them all there — all the Essays in Verse, the Inspirations, the lofty flights, the hymns, and songs, and ballads, and odes; all the nestfuls hatched during the last seven years, in fact. There lie their muses, thick with dust, bespattered by every passing cab, at the mercy of every profane hand that turns them over to look at the vignette on the title-page.
“You know nobody; you have access to no newspaper, so your Marguerites will remain demurely folded as you hold them now. They will never open out to the sun of publicity in fair fields with broad margins enameled with the florets which Dauriat the illustrious, the king of the Wooden Galleries, scatters with a lavish hand for poets known to fame. I came to Paris as you came, poor boy, with a plentiful stock of illusions, impelled by irrepressible longings for glory — and I found the realities of the craft, the practical difficulties of the trade, the hard facts of poverty. In my enthusiasm (it is kept well under control now), my first ebullition of youthful spirits, I did not see the social machinery at work; so I had to learn to see it by bumping against the wheels and bruising myself against the shafts, and chains. Now you are about to learn, as I learned, that between you and all these fair dreamed-of things lies the strife of men, and passions, and necessities.
“Willy-nilly, you must take part in a terrible battle; book against book, man against man, party against party; make war you must, and that systematically, or you will be abandoned by your own party. And they are mean contests; struggles which leave you disenchanted, and wearied, and depraved, and all in pure waste; for it often happens that you put forth all your strength to win laurels for a man whom you despise, and maintain, in spite of yourself, that some second-rate writer is a genius.
“There is a world behind the scenes in the theatre of literature. The public in front sees unexpected or well-deserved success, and applauds; the public does not see the preparations, ugly as they always are, the painted supers, the claqueurs hired to applaud, the stage carpenters, and all that lies behind the scenes. You are still among the audience. Abdicate, there is still time, before you set your foot on the lowest step of the throne for which so many ambitious spirits are contending, and do not sell your honor, as I do, for a livelihood.” Etienne’s eyes filled with tears as he spoke.
“Do you know how I make a living?” he continued passionately. “The little stock of money they gave me at home was soon eaten up. A piece of mine was accepted at the Theatre-Francais just as I came to an end of it. At the Theatre-Francais the influence of a first gentleman of the bedchamber, or of a prince of the blood, would not be enough to secure a turn of favor; the actors only make concessions to those who threaten their self-love. If it is in your power to spread a report that the jeune premier has the asthma, the leading lady a fistula where you please, and the soubrette has foul breath, then your piece would be played to-morrow. I do not know whether in two years’ time, I who speak to you now, shall be in a position to exercise such power. You need so many to back you. And where and how am I to gain my bread meanwhile?
“I tried lots of things; I wrote a novel, anonymously; old Doguereau gave me two hundred francs for it, and he did not make very much out of it himself. Then it grew plain to me that journalism alone could give me a living. The next thing was to find my way into those shops. I will not tell you all the advances I made, nor how often I begged in vain. I will say nothing of the six months I spent as extra hand on a paper, and was told that I scared subscribers away, when as a fact I attracted them. Pass over the insults I put up with. At this moment I am doing the plays at the Boulevard theatres, almost gratis, for a paper belonging to Finot, that stout young fellow who breakfasts two or three times a month, even now, at the Cafe Voltaire (but you don’t go there). I live by selling tickets that managers give me to bribe a good word in the paper, and reviewers’ copies of books. In short, Finot once satisfied, I am allowed to write for and against various commercial articles, and I traffic in tribute paid in kind by various tradesmen. A facetious notice of a Carminative Toilet Lotion, Pate des Sultanes, Cephalic Oil, or Brazilian Mixture brings me in twenty or thirty francs.
“I am obliged to dun the publishers when they don’t send in a sufficient number of reviewers’ copies; Finot, as editor, appropriates two and sells them, and I must have two to sell. If a book of capital importance comes out, and the publisher is stingy with copies, his life is made a burden to him. The craft is vile, but I live by it, and so do scores of others. Do not imagine that things are any better in public life. There is corruption everywhere in both regions; every man is corrupt or corrupts others. If there is any publishing enterprise somewhat larger than usual afoot, the trade will pay me something to buy neutrality. The amount of my income varies, therefore, directly with the prospectuses. When prospectuses break out like a rash, money pours into my pockets; I stand treat all round. When trade is dull, I dine at Flicoteaux’s.
“Actresses will pay you likewise for praise, but the wiser among them pay for criticism. To be passed over in silence is what they dread the most; and the very best thing of all, from their point of view, is criticism which draws down a reply; it is far more effectual than bald praise, forgotten as soon as read, and it costs more in consequence. Celebrity, my dear fellow, is based upon controversy. I am a hired bravo; I ply my trade among ideas and reputations, commercial, literary, and dramatic; I make some fifty crowns a month; I can sell a novel for five hundred francs; and I am beginning to be looked upon as a man to be feared. Some day, instead of living with Florine at the expense of a druggist who gives himself the airs of a lord, I shall be in a house of my own; I shall be on the staff of a leading newspaper, I shall have a feuilleton; and on that day, my dear fellow, Florine will become a great actress. As for me, I am not sure what I shall be when that time comes, a minister or an honest man — all things are still possible.”
He raised his humiliated head, and looked out at the green leaves, with an expression of despairing self-condemnation dreadful to see.
“And I had a great tragedy accepted!” he went on. “And among my papers there is a poem, which will die. And I was a good fellow, and my heart was clean! I used to dream lofty dreams of love for great ladies, queens in the great world; and — my mistress is an actress at the Panorama-Dramatique. And lastly, if a bookseller declines to send a copy of a book to my paper, I will run down work which is good, as I know.”
Lucien was moved to tears, and he grasped Etienne’s hand in his. The journalist rose to his feet, and the pair went up and down the broad Avenue de l’Observatoire, as if their lungs craved ampler breathing space.
“Outside the world of letters,” Etienne Lousteau continued, “not a single creature suspects that every one who succeeds in that world — who has a certain vogue, that is to say, or comes into fashion, or gains reputation, or renown, or fame, or favor with the public (for by these names we know the rungs of the ladder by which we climb to the higher heights above and beyond them), — every one who comes even thus far is the hero of a dreadful Odyssey. Brilliant portents rise above the mental horizon through a combination of a thousand accidents; conditions change so swiftly that no two men have been known to reach success by the same road. Canalis and Nathan are two dissimilar cases; things never fall out in the same way twice. There is d’Arthez, who knocks himself to pieces with work — he will make a famous name by some other chance.
“This so much desired reputation is nearly always crowned prostitution. Yes; the poorest kind of literature is the hapless creature freezing at the street corner; second-rate literature is the kept-mistress picked out of the brothels of journalism, and I am her bully; lastly, there is lucky literature, the flaunting, insolent courtesan who has a house of her own and pays taxes, who receives great lords, treating or ill-treating them as she pleases, who has liveried servants and a carriage, and can afford to keep greedy creditors waiting. Ah! and for yet others, for me not so very long ago, for you to-day — she is a white-robed angel with many-colored wings, bearing a green palm branch in the one hand, and in the other a flaming sword. An angel, something akin to the mythological abstraction which lives at the bottom of a well, and to the poor and honest girl who lives a life of exile in the outskirts of the great city, earning every penny with a noble fortitude and in the full light of virtue, returning to heaven inviolate of body and soul; unless, indeed, she comes to lie at the last, soiled, despoiled, polluted, and forgotten, on a pauper’s bier. As for the men whose brains are encompassed with bronze, whose hearts are still warm under the snows of experience, they are found but seldom in the country that lies at our feet,” he added, pointing to the great city seething in the late afternoon light.
Works of Honore De Balzac Page 478