The Works of Guy de Maupassant, Volume 8. Guy de MaupassantЧитать онлайн книгу.
which are not the same as ours; all the mingled promptings of his nature – in which the organs, nerves, blood, and flesh are different from ours.
However great the genius of a gentle, delicate man, guileless of passions and devoted to science and work, he never can so completely transfuse himself into the body of a dashing, sensual, and violent man, of exuberant vitality, torn by every desire or even by every vice, as to understand and delineate the inmost impulses and sensations of a being so unlike himself, even though he may very adequately foresee and relate all the actions of his life.
In short, the man who writes pure psychology can do no more than put himself in the place of all his puppets in the various situations in which he places them. It is impossible that he should change his organs, which are the sole intermediary between external life and ourselves, which constrain us by their perceptions, circumscribe our sensibilities, and create in each of us a soul essentially dissimilar to all those about us. Our purview and knowledge of the world, and our ideas of life, are acquired by the aid of our senses, and we cannot help transferring them, in some degree, to all the personages whose secret and unknown nature we propose to reveal. Thus, it is always ourselves that we disclose in the body of a king or an assassin, a robber or an honest man, a courtesan, a nun, a young girl, or a coarse market woman; for we are compelled to put the problem in this personal form: "If I were a king, a murderer, a prostitute, a nun, or a market woman, what should I do, what should I think, how should I act?" We can only vary our characters by altering the age, the sex, the social position, and all the circumstances of life, of that ego which nature has in fact inclosed in an insurmountable barrier of organs of sense. Skill consists in not betraying this ego to the reader, under the various masks which we employ to cover it.
Still, though on the point of absolute exactitude, pure psychological analysis is impregnable, it can nevertheless produce works of art as fine as any other method of work.
Here, for instance we have the Symbolists. And why not? Their artistic dream is a worthy one; and they have this especially interesting feature: that they know and proclaim the extreme difficulty of art.
And, indeed, a man must be very daring or foolish to write at all nowadays. And so many and such various masters of the craft, of such multifarious genius, what remains to be done that has not been done, or what to say that has not been said? Which of us all can boast of having written a page, a phrase, which is not to be found – or something very like it – in some other book? When we read, we who are so soaked in (French) literature that our whole body seems as it were a mere compound of words, do we ever light on a line, a thought, which is not familiar to us, or of which we have not had at least some vague forecast?
The man who only tries to amuse his public by familiar methods, writes confidently, in his candid mediocrity, works intended only for the ignorant and idle crowd. But those who are conscious of the weight of centuries of past literature, whom nothing satisfies, whom everything disgusts because they dream of something better, to whom the bloom is off everything, and who always are impressed with the uselessness, the commonness of their own achievements – these come to regard literary art as a thing unattainable and mysterious, scarcely to be detected save in a few pages by the greatest masters.
A score of phrases suddenly discovered thrill us to the heart like a startling revelation; but the lines which follow are just like all other verse, the further flow of prose is like all other prose.
Men of genius, no doubt, escape this anguish and torment because they bear within themselves an irresistible creative power. They do not sit in judgment on themselves. The rest of us, who are no more than persevering and conscientious workers, can only contend against invincible discouragement by unremitting effort.
Two men by their simple and lucid teaching gave me the strength to try again and again: Louis Bouilhet and Gustave Flaubert.
If I here speak of myself in connection with them, it is because their counsels, as summed up in a few lines, may prove useful to some young writers who may be less self-confident than most are when they make their début in print. Bouilhet, whom I first came to know somewhat intimately about two years before I gained the friendship of Flaubert, by dint of telling me that a hundred lines – or less – if they are without a flaw and contain the very essence of the talent and originality of even a second-rate man, are enough to establish an artist's reputation, made me understand that persistent toil and a thorough knowledge of the craft, might, in some happy hour of lucidity, power, and enthusiasm, by the fortunate occurrence of a subject in perfect concord with the tendency of our mind, lead to the production of a single work, short but as perfect as we can make it. Then I learned to see that the best-known writers have hardly ever left us more than one such volume; and that needful above all else is the good fortune which leads us to hit upon and discern, amid the multifarious matter which offers itself for selection, the subject which will absorb all our faculties, all that is of worth in us, all our artistic powers.
At a later date, Flaubert, whom I had occasionally met, took a fancy to me. I ventured to show him a few attempts. He read them kindly and replied: "I cannot tell whether you will have any talent. What you have brought me proves a certain intelligence; but never forget this, young man: talent – as Chateaubriand1 says – is nothing but long patience. Go and work."
I worked; and I often went to see him, feeling that he liked me, for he had taken to calling me, in jest, his disciple. For seven years I wrote verses, I wrote tales, I even wrote a villainous play. Nothing of all this remains. The master read it all; then, the next Sunday while we breakfasted together, he would give me his criticisms, driving into me by degrees two or three principles which sum up the drift of his long and patient exhortations: "If you have any originality," said he, "you must above all things bring it out; if you have not you must acquire it."
Talent is long patience.
Everything you want to express must be considered so long, and so attentively, as to enable you to find some aspect of it which no one has yet seen and expressed. There is an unexplored side to everything, because we are wont never to use our eyes but with the memory of what others before us have thought of the things we see. The smallest thing has something unknown in it; we must find it. To describe a blazing fire, a tree in a plain, we must stand face to face with that fire or that tree, till to us they are wholly unlike any other fire or tree. Thus we may become original.
Then, having established the truth that there are not in the whole world two grains of sand, two flies, two hands, or two noses absolutely alike, he would make me describe in a few sentences some person or object, in such a way as to define it exactly, and distinguish it from every other of the same race or species.
"When you pass a grocer sitting in his doorway," he would say, "a porter smoking his pipe, or a cab stand, show me that grocer and that porter, their attitude and their whole physical aspect, including, as indicated by the skill of the portrait, their whole moral nature, in such a way that I could never mistake them for any other grocer or porter; and by a single word give me to understand wherein one cab horse differs from fifty others before or behind it."
I have explained his notions of style at greater length in another place; they bear a marked relation to the theory of observation I have just laid down. Whatever the thing we wish to say, there is but one word to express it, but one verb to give it movement, but one adjective to qualify it. We must seek till we find this noun, this verb, and this adjective, and never be content with getting very near it, never allow ourselves to play tricks, even happy ones, or have recourse to sleights of language to avoid a difficulty. The subtlest things may be rendered and suggested by applying the hint conveyed in Boileau's line:
"D'un mot mis en sa place enseigna le pouvoir." "He taught the power of a word put in the right place."
There is no need for an eccentric vocabulary to formulate every shade of thought – the complicated, multifarious, and outlandish words which are put upon us nowadays in the name of artistic writing; but every modification of the value of a word by the place it fills must be distinguished with extreme clearness. Give us fewer nouns, verbs, and adjectives, with almost inscrutable shades of meaning, and let us have a greater variety of phrases, more variously constructed, ingeniously divided, full of sonority and learned rhythm. Let us strive
The idea did not originate with Chateaubriand.