If I have stopped to be myself so much reminded, it is because after and outside of “La Dame aux Camélias” Dumas really never figured among us all again—a circumstance full of illustration of one of the most striking of our peculiarities, the capacity for granting a prodigious ear to some one manifestation of an author’s talent and caring nothing whatever for the others. It is solely the manifestation and never the talent that interests us, and nothing is stranger than the fact that no critic has ever explained on our behalf the system by which we hurl ourselves on a writer to-day and stare at him to-morrow as if we had never heard of him. It gives us the air of perpetually awaking from mistakes, but it renders obscure all our canons of judgment. A great force makes a great success, but a great force is furthermore no less a great force on Friday than on Monday. Was the reader a sorry dupe on the first day, or is the writer a wanton sacrifice on the second? That the public is intelligent on both occasions is a claim it can scarcely make: it can only choose between having its acuteness impugned or its manners condemned. At any rate if we have in England and the United States only the two alternatives of the roar of the market and the silence of the tomb the situation is apt to be different in France, where the quality that goes into a man’s work and gives it an identity is the source of the attention excited. It happens that the interest in the play of the genius is greater there than the “boom” of the particular hit, the concern primarily for the author rather than the subject, instead of, as among ourselves, primarily for the subject rather than the author. Is this because the French have been acute enough to reflect that authors comprehend subjects, but that subjects can unfortunately not be said to comprehend authors? Literature would be a merry game if the business were arranged in the latter fashion. However such a question may be answered, Dumas was in his own country, to the end, the force that, save in connection with his first play, he failed to become elsewhere; and if he was there much the most original worker in his field one of the incidental signs of his originality was that, despite our inveterate practice, in theatrical matters, of helping ourselves from our neighbour’s plate, he was inveterately not a convenience to us. We picked our morsels from the plates of smaller people—we never found on that of the author of “Le Fils Naturel” any we could swallow. He was not to our poor purpose, and I cannot help thinking that this helps a little to give his artistic measure. It would be a bad note for him now if we had found him amenable to that graceless game of which we show signs to-day of having grown ashamed, but which flourished for years in two imperturbable communities as the art of theatrical adaptation. A Dumas adaptable is a Dumas inconceivable; and in point of fact he was touched by the purveyors of the English-speaking stage only to prove fatal to them. If the history of so mean a traffic as the one here glanced at were worth writing it would throw light on some odd conceptions of the delicacy in the abused name of which it was carried on. It is all to the honour of our author’s seriousness that he was, in such conditions, so unmanageable; though one must of course hasten to add that this seriousness was not the only reason of it. There were several others, not undiscoverable, and the effect of the whole combination was, in view of the brilliant fortune of his productions at home and the eager foraging of English and American speculators, to place him on a footing all his own. He was of active interest among us only to individual observers—simply as one of the most devoted of whom I trace these few pages of commemoration.
It takes some analysis, yet is not impossible, to explain why among the men of his time to whom the creative gift had been granted his image, for sundry such admirers, always presented him as somehow the happiest consciousness. They were perhaps not always aware of it, but now that he is gone they have a revelation of the place he occupied in the envious mind. This envy flowed doubtless, to begin with, from the sense of his extraordinarily firm grasp of his hard refractory art; the grasp that had put him into possession of it without fumblings or gropings made him canter away on the back of it the moment he had touched the stirrup. He had the air through all his career of a man riding a dangerous horse without ever being thrown. Every one else had a fall—he alone never really quitted the saddle, never produced a play that was not to stay to be revived and in the case of his comparative failures enjoy some sort of revenge, even to that of travelling in the repertory of great actresses round the globe. Such travels, moreover, much as they may please his shade, are far from having been the only felicities of his long career. The others strike me as so numerous that I scarcely indeed know where to begin to reckon them. Greatly even if oddly auspicious for instance was just his stark sonship to his prodigious father, his having been launched with that momentum into the particular world in which he was to live. It was a privilege to make up for the legal irregularity attaching to his birth; we think of it really almost to wonder that it didn’t lift him on a still higher wave. His limitations, which one encounters with a sort of violence, were not to be overlooked; it expresses them in some degree to say that he was bricked up in his hard Parisianism, but it is also incontestable that some of them were much concerned in producing his firm and easy equilibrium. We understand, however, the trap they set for him when we reflect that a certain omniscience, a great breadth of horizon, may well have seemed to him to be transmitted, in his blood, from such a boundless fountain of life. What mattered to him the fact of a reach of reference that stopped at the banlieue, when experience had sat at his cradle in the shape not at all of a fairy godmother but of an immediate progenitor who was at once fabulous and familiar? He had been encompassed by all history in being held in such arms—it was an entrance into possession of more matters than he could even guess what to do with. The profit was all the greater as the son had the luxury of differing actively from the father, as well as that of actively admiring and, in a splendid sense, on all the becoming sides, those of stature, strength and health, vividly reproducing him. He had in relation to his special gift, his mastery of the dramatic form, a faculty of imagination as contracted as that of the author of “Monte Cristo” was boundless, but his moral sense on the other hand, as distinguished from that of his parent, was of the liveliest, was indeed of the most special and curious kind. The moral sense of the parent was to be found only in his good humour and his good health—the moral sense of a musketeer in love. This lack of adventurous vision, of the long flight and the joy of motion, was in the younger genius quite one of the conditions of his strength and luck, of his fine assurance, his sharp edge, his high emphasis, his state untroubled above all by things not within his too irregularly conditioned ken. The things close about him were the things he saw—there were alternatives, differences, opposites, of which he lacked so much as the suspicion. Nothing contributes more to the prompt fortune of an artist than some such positive and exclusive temper, the courage of his convictions, as we usually call it, the power to neglect something thoroughly, to abound aggressively in his own sense and express without reserve his own saturation. The saturation of the author of “Le Demi-Monde” was never far to seek. He was as native to Paris as a nectarine to a south wall. He would have fared ill if he had not had a great gift and Paris had not been a great city.
It was another element of the happy mixture that he came into the world at the moment in all our time that was for a man of letters the most amusing and beguiling—the moment exactly when he could see the end of one era and the beginning of another and join hands luxuriously with each. This was an advantage to which it would have taken a genius more elastic to do full justice, but which must have made him feel himself both greatly related and inspiringly free. He sprang straight from the lap of full-grown romanticism; he was a boy, a privileged and initiated youth, when his father, when Victor Hugo, when Lamartine and Musset and Scribe and Michelet and Balzac and George Sand were at the high tide of production. He saw them all, knew them all, lived with them and made of them his profit, tasting just enough of the old concoction to understand the proportions in which the new should be mixed. He had above all
in his father, for the purpose that was in him, a magnificent springboard—a background to throw into relief, as a ruddy sunset seems to make a young tree doubly bristle, a profile of another type. If it was not indispensable it was at any rate quite poetic justice that the successor to the name should be, in his conditions, the great casuist of the theatre. He had seen the end of an age of imagination, he had seen all that could be done and shown in the way of mere illustration of the passions. That the passions are always with us is a fact he had not the smallest pretension to shut his eyes to—they were to constitute the almost exclusive subject of his study. But he was to study them not for the pleasure, the picture, the poetry they offer; he was to study them in the interest of something quite outside of them, about which the author of “Antony” and “Kean,” about which Victor Hugo and Musset, Scribe and Balzac and even George Sand had had almost nothing to say. He was to study them from the point of view of the idea of the right and the wrong, of duty and conduct, and he was to this end to spend his artistic life with them and give a new turn to the theatre. He was in short to become, on the basis of a determined observation of the manners of his time and country, a professional moralist.
There can scarcely be a better illustration of differences of national habit and attitude than the fact that while among his own people this is the character, as an operative force, borne by the author of “Le Demi-Monde” and “Les Idées de Madame Aubray,” so among a couple of others, in the proportion in which his reputation there has emerged from the vague, his most definite identity is that of a mere painter of indecent people and indecent doings. There are, as I have hinted, several reasons for the circumstance already noted, the failure of the attempt to domesticate him on the English-speaking stage; but one states the case fairly, I think, in saying that what accounts for half of it is our passion, in the presence of a work of art, for confounding the object, as the philosophers have it, with the subject, for losing sight of the idea in the vehicle, of the intention in the fable. Dumas is a dramatist as to whom nine playgoers out of ten would precipitately exclaim: “Ah, but you know, isn’t he dreadfully immoral?” Such are the lions in the path of reputation, such the fate, in an alien air, of a master whose main reproach in his native clime is the importunity and the rigour of his lesson. The real difference, I take it, is that whereas we like to be good the French like to be better. We like to be moral, they like to moralise. This helps us to understand the number of our innocent writers—writers innocent even of reflection, a practice of course essentially indelicate, inasmuch as it speedily brings us face to face with scandal and even with evil. It accounts doubtless also for the number of writers on the further side of the Channel who have made the journey once for all and to whom, in the dangerous quarter they have reached, it appears of the very nature of scandal and evil to be inquired about. The whole undertaking of such a writer as Dumas is, according to his light, to carry a particular, an esthetic form of investigation as far as it will stretch—to study, and study thoroughly, the bad cases. These bad cases were precisely what our managers and adapters, our spectators and critics would have nothing to do with. It defines indeed the separation that they should have been, in the light in which he presented them, precisely what made them for his own public exceptionally edifying. One of his great contentions is, for instance, that seduced girls should under all circumstances be married—by somebody or other, failing the seducer. This is a contention that, as we feel, barely concerns us, shut up as we are in the antecedent conviction that they should under no circumstances be seduced. He meets all the cases that, as we see him, we feel to have been spread out before him; meets them successively, systematically, at once with a great earnestness and a great wit. He is exuberantly sincere: his good faith sometimes obscures his humour, but nothing obscures his good faith. So he gives us in their order the unworthy brides who must be denounced, the prenuptial children who must be adopted, the natural sons who must be avenged, the wavering ladies who must be saved, the credulous fiancés who must be enlightened, the profligate wives who must be shot, the merely blemished ones who must be forgiven, the too vindictive ones who must be humoured, the venal young men who must be exposed, the unfaithful husbands who must be frightened, the frivolous fathers who must be pulled up and the earnest sons who must pull them. To enjoy his manner of dealing with such material we must grant him in every connection his full premise: that of the importunity of the phenomenon, the ubiquity of the general plight, the plight in which people are left by an insufficient control of their passions. We must grant him in fact for his didactic and dramatic purpose a great many things. These things, taken together and added to some others, constitute the luxurious terms on which I have spoken of him as appearing to the alien admirer to have practised his complicated art.
When we speak of the passions in general we really mean, for the most part, the first of the number, the most imperious in its action and the most interesting in its consequences, the passion that unites and divides the sexes. It is the passion, at any rate, to which Dumas as dramatist and pamphleteer mainly devoted himself: his plays, his prefaces, his manifestos, his few tales roll exclusively on the special relation of the man to the woman and the woman to the man, and on the dangers of various sorts, even that of ridicule, with which this relation surrounds each party. This element of danger is what I have called the general plight, for when our author considers the sexes as united and divided it is with the predominance of the division that he is principally struck. It is not an unfair account of him to say that life presented itself to him almost wholly as a fierce battle between the woman and the man. He sides now with one and now with the other; the former combatant, in her own country, however, was far from pronouncing him sympathetic. His subject at all events is what we of English race call the sexes and what they in France call the sex. To talk of love is to talk, as we have it, of men and women; to talk of love is, as the French have it, to parler femmes. From every play of our author’s we receive the impression that to parler femmes is its essential and innermost purpose. It is not assuredly singular that a novelist, a dramatist should talk of love, or even should talk of nothing else: what, in addition to his adroitness and his penetration, makes the position special for Dumas is that he talks of it—and in the form of address most associated with pure diversion—altogether from the anxious point of view of the legislator and the citizen.
“Diane de Lys,” which immediately followed “La Dame aux Camélias,” is, so far as I can recall it, a picture pure and simple, a pretty story, as we say, sufficiently romantic and rather long-winded; but with “Le Demi-Monde” began his rich argumentative series, concluding only the other day with “Denise” and “Francillon,” the series in which every theme is a proposition to be established and every proposition a form of duty to be faced. The only variation that I can recollect in the list is the disinterested portraiture of “Le Père Prodigue,” with its remarkable presentation, in the figure of Albertine de la Borde, of vice domesticated and thrifty, keeping early hours and books in double-entry, and its remarkable illustration, I may further add, of all that was the reverse of infallible in the author’s power to distinguish between amiable infirmities and ugly ones. The idea on which “Le Père Prodigue” rests belongs more distinctively to the world of comedy than almost any other situation exhibited in the series; but what are we to say of the selection, for comic effect, of a fable of which the principal feature is a son’s not unfounded suspicion of the attitude of his own father to his own wife? The father is the image of a nature profusely frivolous, but we scent something more frivolous still in the way his frivolity is disposed of. At the time the play was produced the spectator thought himself warranted in recognising in this picture the personal character (certainly not the personal genius) of the elder Dumas. If the spectator was so warranted, that only helps, I think, to make “Le Père Prodigue” a stumbling-block for the critic—make it, I mean, an exhibition of the author off his guard and a fact to be taken into
account in an estimate of his moral reach; a moral reach, for the rest, at all events, never impugned by any obliquity in facing that conception of the duty imposed which it is the main source of the writer’s interest in the figured circumstances that they may be held to impose it, and which he was apt to set forth more dogmatically, or at least more excitedly, in an occasional and polemical pamphlet. These pamphlets, I may parenthetically say, strike me as definitely compromising to his character as artist. What shines in them most is the appetite for a discussion, or rather the appetite for a conclusion, and the passion for a simplified and vindictive justice. But I have never found it easy to forgive a writer who, in possession of a form capable of all sorts of splendid application, puts on this resource the slight of using substitutes for it at will, as if it is good but for parts of the cause. If it is good for anything it is good for the whole demonstration, and if it is not good for the whole demonstration it is good for nothing—nothing that he is concerned with. If the picture of life doesn’t cover the ground what in the world can cover it? The fault can only be the painter’s. Woe, in the esthetic line, to any example that requires the escort of precept. It is like a guest arriving to dine accompanied by constables. Our author’s prefaces and treatises show a mistrust of disinterested art. He would have declared probably that his art was not disinterested; to which our reply would be that it had then no right to put us off the scent and prepare deceptions for us by coming within an ace of being as good as if it were.