A Distinguished Provincial at Paris Part 29

"My dear boy, a journalist is a juggler; a man must make up his mind to the drawbacks of the calling. Look here! I am not a bad fellow; this is the way _I_ should set to work myself. Attention! You might begin by praising the book, and amuse yourself a while by saying what you really think. 'Good,' says the reader, 'this critic is not jealous; he will be impartial, no doubt,' and from that point your public will think that your criticism is a piece of conscientious work. Then, when you have won your reader's confidence, you will regret that you must blame the tendency and influence of such work upon French literature. 'Does not France,' you will say, 'sway the whole intellectual world? French writers have kept Europe in the path of a.n.a.lysis and philosophical criticism from age to age by their powerful style and the original turn given by them to ideas.' Here, for the benefit of the philistine, insert a panegyric on Voltaire, Rousseau, Diderot, Montesquieu, and Buffon.

Hold forth upon the inexorable French language; show how it spreads a varnish, as it were, over thought. Let fall a few aphorisms, such as--'A great writer in France is invariably a great man; he writes in a language which compels him to think; it is otherwise in other countries'--and so on, and so on. Then, to prove your case, draw a comparison between Rabener, the German satirical moralist, and La Bruyere. Nothing gives a critic such an air as an apparent familiarity with foreign literature. Kant is Cousin's pedestal.

"Once on that ground you bring out a word which sums up the French men of genius of the eighteenth century for the benefit of simpletons--you call that literature the 'literature of ideas.' Armed with this expression, you fling all the mighty dead at the heads of the ill.u.s.trious living. You explain that in the present day a new form of literature has sprung up; that dialogue (the easiest form of writing) is overdone, and description dispenses with any need for thinking on the part of the author or reader. You bring up the fiction of Voltaire, Diderot, Sterne, and Le Sage, so trenchant, so compact of the stuff of life; and turn from them to the modern novel, composed of scenery and word-pictures and metaphor and the dramatic situations, of which Scott is full. Invention may be displayed in such work, but there is no room for anything else. 'The romance after the manner of Scott is a mere pa.s.sing fashion in literature,' you will say, and fulminate against the fatal way in which ideas are diluted and beaten thin; cry out against a style within the reach of any intellect, for any one can commence author at small expense in a way of literature, which you can nickname the 'literature of imagery.'

"Then you fall upon Nathan with your argument, and establish it beyound cavil that he is a mere imitator with an appearance of genius. The concise grand style of the eighteenth century is lacking; you show that the author subst.i.tutes events for sentiments. Action and stir is not life; he gives you pictures, but no ideas.

"Come out with such phrases, and people will take them up.--In spite of the merits of the work, it seems to you to be a dangerous, nay, a fatal precedent. It throws open the gates of the temple of Fame to the crowd; and in the distance you descry a legion of petty authors hastening to imitate this novel and easy style of writing.

"Here you launch out into resounding lamentations over the decadence and decline of taste, and slip in eulogies of Messieurs Etienne Jouy, Tissot, Gosse, Duval, Jay, Benjamin Constant, Aignan, Baour-Lormian, Villemain, and the whole Liberal-Bonapartist chorus who patronize Vernou's paper. Next you draw a picture of that glorious phalanx of writers repelling the invasion of the Romantics; these are the upholders of ideas and style as against metaphor and balderdash; the modern representatives of the school of Voltaire as opposed to the English and German schools, even as the seventeen heroic deputies of the Left fought the battle for the nation against the Ultras of the Right.

"And then, under cover of names respected by the immense majority of Frenchmen (who will always be against the Government), you can crush Nathan; for although his work is far above the average, it confirms the bourgeois taste for literature without ideas. And after that, you understand, it is no longer a question of Nathan and his book, but of France and the glory of France. It is the duty of all honest and courageous pens to make strenuous opposition to these foreign importations. And with that you flatter your readers. Shrewd French mother-wit is not easily caught napping. If publishers, by ways which you do not choose to specify, have stolen a success, the reading public very soon judges for itself, and corrects the mistakes made by some five hundred fools, who always rush to the fore.

"Say that the publisher who sold a first edition of the book is audacious indeed to issue a second, and express regret that so clever a man does not know the taste of the country better. There is the gist of it. Just a sprinkle of the salt of wit and a dash of vinegar to bring out the flavor, and Dauriat will be done to a turn. But mind that you end with seeming to pity Nathan for a mistake, and speak of him as of a man from whom contemporary literature may look for great things if he renounces these ways."

Lucien was amazed at this talk from Lousteau. As the journalist spoke, the scales fell from his eyes; he beheld new truths of which he had never before caught so much as a glimpse.

"But all this that you are saying is quite true and just," said he.

"If it were not, how could you make it tell against Nathan's book?"

asked Lousteau. "That is the first manner of demolishing a book, my boy; it is the pickaxe style of criticism. But there are plenty of other ways. Your education will complete itself in time. When you are absolutely obliged to speak of a man whom you do not like, for proprietors and editors are sometimes under compulsion, you bring out a neutral special article. You put the t.i.tle of the book at the head of it, and begin with general remarks, on the Greeks and the Romans if you like, and wind up with--'and this brings us to Mr. So-and-so's book, which will form the subject of a second article.' The second article never appears, and in this way you snuff out the book between two promises. But in this case you are writing down, not Nathan, but Dauriat; he needs the pickaxe style. If the book is really good, the pickaxe does no harm; but it goes to the core of it if it is bad. In the first case, no one but the publisher is any the worse; in the second, you do the public a service. Both methods, moreover, are equally serviceable in political criticism."

Etienne Lousteau's cruel lesson opened up possibilities for Lucien's imagination. He understood this craft to admiration.

"Let us go to the office," said Lousteau; "we shall find our friends there, and we will agree among ourselves to charge at Nathan; they will laugh, you will see."

Arrived in the Rue Saint-Fiacre, they went up to the room in the roof where the paper was made up, and Lucien was surprised and gratified no less to see the alacrity with which his comrades proceeded to demolish Nathan's book. Hector Merlin took up a piece of paper and wrote a few lines for his own newspaper.--

"A second edition of M. Nathan's book is announced. We had intended to keep silence with regard to that work, but its apparent success obliges us to publish an article, not so much upon the book itself as upon certain tendencies of the new school of literature."

At the head of the "Facetiae" in the morning's paper, Lousteau inserted the following note:--

"M. Dauriat is bringing out a second edition of M. Nathan's book.

Evidently he does not know the legal maxim, _Non bis in idem_. All honor to rash courage."

Lousteau's words had been like a torch for burning; Lucien's hot desire to be revenged on Dauriat took the place of conscience and inspiration.

For three days he never left Coralie's room; he sat at work by the fire, waited upon by Berenice; petted, in moments of weariness, by the silent and attentive Coralie; till, at the end of that time, he had made a fair copy of about three columns of criticism, and an astonishingly good piece of work.

It was nine o'clock in the evening when he ran round to the office, found his a.s.sociates, and read over his work to an attentive audience.

Felicien said not a syllable. He took up the ma.n.u.script, and made off with it pell-mell down the staircase.

"What has come to him?" cried Lucien.

"He has taken your article straight to the printer," said Hector Merlin.

"'Tis a masterpiece; not a line to add, nor a word to take out."

"There was no need to do more than show you the way," said Lousteau.

"I should like to see Nathan's face when he reads this to-morrow," said another contributor, beaming with gentle satisfaction.

"It is as well to have you for a friend," remarked Hector Merlin.

"Then it will do?" Lucien asked quickly.

"Blondet and Vignon will feel bad," said Lousteau.

"Here is a short article which I have knocked together for you," began Lucien; "if it takes, I could write you a series."

"Read it over," said Lousteau, and Lucien read the first of the delightful short papers which made the fortune of the little newspaper; a series of sketches of Paris life, a portrait, a type, an ordinary event, or some of the oddities of the great city. This specimen--"The Man in the Street"--was written in a way that was fresh and original; the thoughts were struck out by the shock of the words, the sounding ring of the adverbs and adjectives caught the reader's ear. The paper was as different from the serious and profound article on Nathan as the _Lettres persanes_ from the _Esprit des lois_.

"You are a born journalist," said Lousteau. "It shall go in to-morrow.

Do as much of this sort of thing as you like."

"Ah, by the by," said Merlin, "Dauriat is furious about those two bombsh.e.l.ls hurled into his magazine. I have just come from him. He was hurling imprecations, and in such a rage with Finot, who told him that he had sold his paper to you. As for me, I took him aside and just said a word in his ear. 'The _Marguerites_ will cost you dear,' I told him.

'A man of talent comes to you, you turn the cold shoulder on him, and send him into the arms of the newspapers.'"

"Dauriat will be dumfounded by the article on Nathan," said Lousteau.

"Do you see now what journalism is, Lucien? Your revenge is beginning to tell. The Baron Chatelet came here this morning for your address.

There was a cutting article upon him in this morning's issue; he is a weakling, that buck of the Empire, and he has lost his head. Have you seen the paper? It is a funny article. Look, 'Funeral of the Heron, and the Cuttlefish-bone's lament.' Mme. de Bargeton is called the Cuttlefish-bone now, and no mistake, and Chatelet is known everywhere as Baron Heron."

Lucien took up the paper, and could not help laughing at Vernou's extremely clever skit.

"They will capitulate soon," said Hector Merlin.

Lucien merrily a.s.sisted at the manufacture of epigrams and jokes at the end of the paper; and the a.s.sociates smoked and chatted over the day's adventures, over the foibles of some among their number, or some new bit of personal gossip. From their witty, malicious, bantering talk, Lucien gained a knowledge of the inner life of literature, and of the manners and customs of the craft.

"While they are setting up the paper, I will go round with you and introduce you to the managers of your theatres, and take you behind the scenes," said Lousteau. "And then we will go to the Panorama-Dramatique, and have a frolic in their dressing-rooms."

Arm-in-arm, they went from theatre to theatre. Lucien was introduced to this one and that, and enthroned as a dramatic critic. Managers complimented him, actresses flung him side glances; for every one of them knew that this was the critic who, by a single article, had gained an engagement at the Gymnase, with twelve thousand francs a year, for Coralie, and another for Florine at the Panorama-Dramatique with eight thousand francs. Lucien was a man of importance. The little ovations raised Lucien in his own eyes, and taught him to know his power. At eleven o'clock the pair arrived at the Panorama-Dramatique; Lucien with a careless air that worked wonders. Nathan was there. Nathan held out a hand, which Lucien squeezed.

"Ah! my masters, so you have a mind to floor me, have you?" said Nathan, looking from one to the other.

"Just you wait till to-morrow, my dear fellow, and you shall see how Lucien has taken you in hand. Upon my word, you will be pleased. A piece of serious criticism like that is sure to do a book good."

Lucien reddened with confusion.

"Is it severe?" inquired Nathan.

"It is serious," said Lousteau.

"Then there is no harm done," Nathan rejoined. "Hector Merlin in the greenroom of the Vaudeville was saying that I had been cut up."

"Let him talk, and wait," cried Lucien, and took refuge in Coralie's dressing-room. Coralie, in her alluring costume, had just come off the stage.