The George Sand-Gustave Flaubert Letters Part 27

Such is the dialogue that Madame Cornu reported to me.

She wants you to write me a letter in which you tell me that the Empress was not used by you as a model. I shall send that letter to Madame Cornu who will have it given to the Empress.

I think that story stupid and those people are very sensitive! Much worse things than that are told to us.

Now dear master of the good G.o.d, you must do exactly what you please.

The Empress has always been very kind to me and I should not be sorry to do her a favor. I have read the famous pa.s.sage. I see nothing in it to hurt her. But women's brains are so queer!

I am very tired in mine (my brain) or rather it is very low for the moment! However hard I work, it doesn't go! Everything irritates me and hurts me; and since I restrain myself before people, I give way from time to time to floods of tears when it seems to me as if I should burst. At last I am experiencing an entirely new sensation: the approach of old age. The shadow invades me, as Victor Hugo would say.

Madame Cornu has spoken to me enthusiastically of a letter you wrote her on a method of teaching.

CLV. TO GUSTAVE FLAUBERT, at Croissset Nohant, 17 March, 1870

I won't have it, you are not getting old. Not in the crabbed and MISANTHROPIC sense. On the contrary, when one is good, one becomes better, and, as you are already better than most others, you ought to become exquisite.

You are boasting, moreover, when you undertake to be angry against everyone and everything. You could not. You are weak before sorrow, like all affectionate people. The strong are those who do not love.

You will never be strong, and that is so much the better. You must not live alone any more; when strength returns you must really live and not shut it up for yourself alone.

For my part, I am hoping that you will be reborn with the springtime. Today we have rain which relaxes, tomorrow we shall have the animating sun. We are all just getting over illnesses, our children had very bad colds, Maurice quite upset by lameness with a cold, I taken again by chills and anemia: I am very patient and I prevent the others as much as I can from being impatient, there is everything in that; impatience with evil always doubles the evil.

When shall we be WISE as the ancients understood it? That, in substance, meant being PATIENT, nothing else. Come, dear troubadour, you must be a little patient, to begin with, and then you can get accustomed to it; if we do not work on ourselves, how can we hope to be always in shape to work on others?

Well, in the midst of all that, don't forget that we love you and that the hurt you give yourself hurts us too.

I shall go to see you and to shake you as soon as I have regained my feet and my will, which are both backward; I am waiting, I know that they will return.

Affectionate greetings from all our invalids. Punch has lost only his fiddle and he is still smiling and well gilded. Lolo's baby has had misfortunes, but its clothes dress other dolls. As for me, I can flap only one wing, but I kiss you and I love you.

G. Sand

CLVI. TO GUSTAVE FLAUBERT, in Paris Nohant, 19 March, 1870

I know, my friend, that you are very devoted to her. I know that she [Footnote: Letter written about the rumour current, that George Sand had meant to depict the Empress in one of the chief characters of her novel, Malgre tout; the letter was sent by Flaubert to Madame Cornu, G.o.d-child of Queen Hortense, and foster-sister of Napoleon III.] is very kind to unfortunates who have been recommended to her; that is all that I know of her private life. I have never had any revelation nor doc.u.ment about her, NOT A WORD, NOT A DEED, which would authorize me to depict her. So I have drawn only a figure of fancy, I swear it, and those who pretended to recognize her in a satire would be, in any case, bad servants and bad friends.

But I don't write satires: I am ignorant even of the meaning of the word. I don't write PORTRAITS either; it is not my style. I invent.

The public, who does not know in what invention consists, thinks it sees everywhere models. It is mistaken and it degrades art.

This is my SINCERE answer, I have only enough time to mail it.

G. Sand

CLVII. To MADAME HORTENSE CORNU

Your devotion was alarmed wrongly, dear madame, I was sure of it!

Here is the answer that came to me by return mail.

People in society, I reiterate, see allusions where there are none.

When I did Madame Bovary I was asked many times: "Is it Madame X.

whom you meant to depict?" and I received letters from perfectly unknown people, among others one from a gentleman in Rheims who congratulated me on HAVING AVENGED HIM! (against a faithless one).

Every pharmacist in Seine-Inferieure recognizing himself in Homais, wanted to come to my house to box my ears. But the best (I discovered it five years later) is that there was then in Africa the wife of an army doctor named Madame Bovaries who was like Madame Bovary, a name I had invented by altering that of Bouvaret.

The first sentence of our friend Maury in talking to me about l'Education sentimentale was this: "Did you know X, an Italian, a professor of mathematics? Your Senecal is his physical and moral portrait! Everything is exact even to the cut of his hair!"

Others a.s.sert that I meant to depict in Arnoux, Bernard Latte (the former editor), whom I have never seen, etc., etc.

All that is to tell you, dear madame, that the public is mistaken in attributing to us intentions which we do not have.

I was very sure that Madame Sand had not intended to make any portrait; (1) because of her loftiness of mind, her taste, her reverence for art, and (2) because of her character, her feeling for the conventions--and also FOR JUSTICE.

I even think, between ourselves, that this accusation has hurt her a little. The papers roll us in the dirt every day without our ever answering them, we whose business it is, however, to wield the pen, and they think that in order to MAKE AN EFFECT, to be applauded, we are going to attack such and such a one.

Oh! no! not so humble! our ambition is higher, and our courtesy greater.--When one thinks highly of one's mind one does not choose the necessary means to please the crowd. You understand me, don't you?

But enough of this. I shall come to see you one of these days.

Looking forward to that with pleasure, dear madame, I kiss your hands and am entirely yours,

Gustave Flaubert

Sunday evening.

CLVIII. TO GEORGE SAND March, 1870

Dear master,

I have just sent your letter (for which I thank you) to Madame Cornu, enclosing it in a letter from your troubadour, in which I permitted myself to give bluntly my conception of things.

The two letters will be placed under the eyes of the LADY and will teach her a little about aesthetics.

I saw l'Autre last evening, and I wept several times. It did me good, really! How tender and exalting it is! What a charming work and how they love the author! I missed you. I wanted to give you a kiss like a little child. My oppressed heart is easier, thank you. I think that it will get better! There were a lot of people there.

Berton and his son were recalled twice.

CLIX. TO GUSTAVE FLAUBERT Nohant, 3 April, 1870

Your old troubadour has pa.s.sed through cruel anguish, Maurice has been seriously, dangerously ill.[Footnote: With diptheria.] Favre, MY OWN doctor, the only one in whom I have confidence, hastened to us in time. After that Lolo had violent attacks of fever, other terrors! At last our savior went off this morning leaving us almost tranquil and our invalids went out to walk in the garden for the first time.--But they still want a great deal of care and oversight, and I shall not leave them for two or three weeks. If then you are awaiting me in Paris, and the sun calls you elsewhere, have no regret about it. I shall try to go to see you in Croisset from Paris between the dawn and the dusk sometime.

At least tell me how you are, what you are doing, if you are on your feet in every way.