'-^fi SSkMmt^ BRARY ^ «IV :., OF \'A DIEGO . JUN 1 9 1973 '■I This edition is limited to One Thousand Copies, of which this is No,...-<......w....-:.. Copyright, ^tgS. ^ JmSs,; Srimm' & Cf ^aupW * C^Farls THE NOVELS, ROMANCES AND 31 E 31 O I R S O E ALPHONSE DAUDET P U /' /; A' r A L K I) I T I N THE NABOB VOLUME ONE SOCIETY OF ENGUSH AND FJIENCH EriERA'l'URE • • NEW YORK Copyright, 1898, By Little, Brown, and Company. All rights reserved. 2Entbersttg Press: John Wilson and Son, Cambridge, U.S.A. PUBLISHER'S NOTE TO FRENCH EDITION We have been informed that at the time of the publi- cation of The Nabob in serial form, the government of Tunis was offended at the ' introduction therein of indi- viduals whom the author dressed in names and costumes peculiar to that country. We are authorized by M. Alphonse Daudet to declare that those scenes in the book which relate to Tunis are entirely imaginary, and that he never intended to introduce any of the function- aries of that state. ALPHONSE DAUDET, Alphonse Daudet is one of the most richly gifted of modern French novelists and one of the most artistic ; he is perhaps the most delightful ; and he is certainly the most fortunate. In his own country earlier than any of his contemporaries he saw his stories attain to the very wide circula- tion that brings both celebrity and wealth. Beyond the borders of his own language he swiftly won a popularity both with the broad public and with the professed critics of literature, second only to that of Victor Hugo and still surpassing that of Balzac, who is only of late beginning to receive from us the attention he has so long deserved. Daudet has had the rare luck of pleasing parti- sans of almost every school ; the realists have joyed in his work and so have the romanticists ; his writings have found favor in the eyes of the frank impressionists and also at the hands of the severer custodians of academic standards. Mr. Henry James has declared that Daudet is " at the head of his profession " and has called him " an admirable genius." Mr. Robert Louis Stevenson viii Alphonse Daudet. thought Daudet " incomparably " the best of the present French novehsts and asserted that " Kings in Exile " comes " very near to being a master- piece." M. Jules Lemaitre tells us that Daudet " trails all hearts after him, — because he has charm, as indefinable in a work of art as in a woman's face." M. Ferdinand Brunetiere, who ha? scant relish for latter-day methods in litera- ture, admits ungrudgingly that " there are certain corners of the great city and certain aspects of Parisian manners, there are some physiognomies that perhaps no one has been able to render so well as Daudet, with that infinitely subtle and patient art which succeeds in giving even to inan- imate things the appearance of life." I. The documents are abundant for an analysis of Daudet such as Sainte-Beuve would have under- taken with avidity; they are more abundant in- deed than for any other contemporary French man of letters even in these days of unhesitating self- revelation ; and they are also of an absolutely im- pregnable authenticity. M. Ernest Daudet has written a whole volume to tell us all about his brother's boyhood and youth and early manhood and first steps in literature. M. L6on Daudet has written another solid tome to tell us all about his father's literary principles and family life and later Alphofise Daudet. ix years and death. Daudet himself put forth a pair of pleasant books of personal gossip about himself, narrating his relations with his fellow authors and recording the circumstances under which he came to compose each of his earlier stories. Montaigne — whose " Essays " was Dau- det's bedside book and who may be accepted not unfairly as an authority upon egotism — assures us that " there is no description so difficult, nor doubtless of so great utility, as that of one's self" And Daudet's own interest in himself is not unlike Montaigne's, — it is open, innocent and illumi- nating. Cuvier may have been able to reconstruct an extinct monster from the inspection of a single bone ; but it is a harder task to revive the figure of a man, even by the aid of these family testi- monies, this self-analysis, the diligence of countless interviewers of all nationalities, and indiscretion of a friend like Edmond de Goncourt (who seems to have acted on the theory that it is the whole duty of man to take notes of the talk of his fellows for prompt publication). Yet we have ample material to enable us to trace Daudet's heredity, and to estimate the influence of his environment in the days of his youth, and to allow for the effect which certain of his own physical peculiarities must have had upon his exercise of his art. His near-sighted- ness, for example, — would not Sainte-Beuve have seized upon this as significant? Would he not have seen in this a possible source of Daudet's mastery X Alpho7tse Daudet. of description? And the spasms of pain borne bravely and uncomplainingly, the long agony of his later years, what mark has this left on his work, how far is it responsible for a modification of his attitude, — for the change from the careless gaiety of " Tartarin of Tarascon " to the sombre satire of " Port-Tarascon " ? What caused the joy- ous story-teller of the " Letters from my Mill " to develop into the bitter iconoclast of the "Immortal." These questions are insistent ; and yet, after all, what matters the answer to any of them? The fact remains that Daudet had his share of that in- communicable quality which we are agreed to call genius. This once admitted, we may do our best to weigh it and to resolve it into its elements, it is at bottom the vital spark that resists all examination, however scientific we may seek to be. We can test for this and for that, but in the final analysis genius is inexplicable. It is what it is, because it is. It might have been different, no doubt, but it is not. It is its own excuse for being ; and, for all that we can say to the con- trary, it is its own cause, sufficient unto itself. Even if we had Sainte-Beuve's scalpel, we could not surprise the secret. Yet an inquiry into the successive stages of Daudet's career, a consideration of his ancestry, of his parentage, of his birth, of the circumstances of his boyhood, of his youthful adventures, — these things are interesting in themselves and they are Alp house Dattdet. xi not without instruction. They reveal to us the reasons for the transformation that goes so far to explain Daudet's peculiar position, — the trans- formation of a young Provengal poet into a bril- liant Parisian veritist. Daudet was a Provencal who became a Parisian, — and in this translation we may find the key to his character as a writer of fiction. He was from Provence as Maupassant was from Normandy; and Daudet had the Southern expan- siveness and abundance, just as Maupassant had the Northern reserve and caution. If an author is ever to bring forth fruit after his kind he must have roots in the soil of his nativity. Daudet was no orchid, beautiful and scentless ; his writings have always the full flavor of the southern soil. He was able to set Tartarin before us so sympathetically and to make Numa Roumestan so convincing be- cause he recognized in himself the possibility of a like exuberance. He could never take the rigor- ously impassive attitude which Flaubert taught Maupassant to assume. Daudet not only feels for his characters, but he is quite willing that we should be aware of his compassion. He is not only incapable of the girding enmity which Taine detected and detested in Thackeray's treatment of Becky Sharp, but he is also devoid of the callous detachment with which Flaubert dis- sected Emma Bovary under the microscope. Daudet is never flagrantly hostile toward one of his creatures ; and, however contemptible or despi- xii Alpho7ise Daudet. cable the characters he has called into being, he is scrupulously fair to them. Sidonie and Fdlicia Ruys severally throw themselves away, but Daudet is never intolerant. He is inexorable, but he is not insulting. I cannot but think that it is Provence whence Daudet derived the precious birthright of sympathy, and that it is Provence again which be- stowed on him the rarer gift of sentiment. It is by his possession of sympathy and of sentiment that he has escaped the aridity which suffocates us in the works of so many other Parisian novelists. The South endowed him with warmth and heartiness and vivacity; and what he learnt from Paris was the power of self-restraint and the duty of finish. He was born in Provence and he died in Paris; he began as a poet and he ended as a veritist; and in each case there was logical evolution and not contradiction. The Parisian did not cease to be a Provengal; and the novelist was a lyrist still. Poet though he was, he had an intense liking for the actual, the visible, the tangible. He so hun- gered after truth that he was ready sometimes to stay his stomach with facts in its stead, — mere fact being but the outward husk, whereas truth is the rich kernel concealed within. His son tells us that Daudet might have taken as a motto the title of Goethe's autobiography, " Dichtung und Wahr- heit," — Poetry and Truth. And this it is that has set Daudet apart and that has caused his vogue with readers of all sorts and conditions, — this unique combination of imagination and verity. "His Alp house Daudet. xiii originality," M. Jules Lemaitre has acutely re- marked, " is closely to unite observation and fan- tasy, to extract from the truth all that it contains of the improbable and the surprising, to satisfy at the same time the readers of M. Cherbuliez and the readers of M. Zola, to write novels which are at the same time realistic and romantic, and which seem romantic only because they are very sincerely and very profoundly realistic." II. Alphonse Daudet was born in 1840, and it was at Nlmes that he first began to observe mankind; and he has described his birthplace and his boyhood in " Little What's-his-name," a novel even richer in autobiographical reve- lation than is " David Copperfield." His father was a manufacturer whose business was not prosper- ous and who was forced at last to remove with the whole family to Lyons in the vain hope of do- ing better in the larger town. After reading the account of this parent's peculiarities in M. Ernest Daudet's book, we are not surprised that the affairs of the family did not improve, but went from bad to worse. Alphonse Daudet suffered bitterly in these years of desperate struggle, but he gained an understanding of the conditions of mercantile life, to be serviceable later in the composition of "Fromont and Risler." xiv Alp house Daudet. When he was sixteen he secured a place d^s pion in a boarding school in the Cevennes, — dipion is a poor devil of a youth hired to keep watch on the boys. How painful this position was to the young poet can be read indirectly in "Little What's-his- name," but more explicitly in the history of that story, printed now in " Thirty Years of Paris." From this remote prison he was rescued by his elder brother, Ernest, who was trying to make his way in Paris and who sent for Alphonse as soon as he had been engaged to help an old gentleman in writing his memoirs. The younger brother has de- scribed his arrival in Paris, and his first dress-coat and his earliest literary acquaintances. Ernest's salary was seventy-five francs a month, and on this the two brothers managed to live ; no doubt fifteen dollars went further in Paris in 1857 than they will in 1899. In those days of privation and ambition Daudet's longing was to make himself famous as a poet ; and when at last, not yet twenty years old, he began his career as a man of letters it was by the publication of a volume of verse, just as his fellow-novelists, M. Paul Bourget and Signer Gabriele d'Annunzio have severally done. Immature as juvenile lyrics are likely to be, these early rhymes of Daudet's have a flavor of their own, a faintly recognizable note of individuality. He is more naturally a poet than most modern literators who possess the ac- complishment of verse as part of their equipment for the literary life, but who lack a spontaneous Alp house Daudet. xv impulse toward rhythm. It may even be suggested that his Httle poems are less artificial than most French verse ; they are the result of a less obvious effort. He lisped in numbers; and with him it was rather prose that had to be consciously acquired. His lyric note, although not keen and not deep, is heard again and again in his novels, and it sus- tains some of the most graceful and tender of his short stories, — "The Death of the Dau- phin," for instance, and the " Sous-prefet in the Fields." Daudet extended poetry to include playmaking; and alone or with a friend he attempted more than one little piece in rhyme — tiny plays of a type familiar enough at the Odeon. He has told us how the news of the production of one of these poetic dramas came to him afar in Algiers whither he had been sent because of a weakness of the lungs, threatening to become worse in the gray Parisian winter. Other plays of his, some of them far more important than this early effort, were produced in the next few years. The most ambitious of these was the " Woman of Aries," which he had elabo- rated from a touching short story and for which Bizet composed incidental music as beautiful and as overwhelming as that prepared by Mendelssohn for the " Midsummer Night's Dream." No one of Daudet's dramatic attempts was really successful ; not the " Woman of Aries," which is less moving in the theatre than in its briefer nar- rative form, not even the latest of them all, the xvi Alphonse Daudet freshest and the most vigorous, the " Struggle for Life," with its sinister figure of Paul Astier taken over from the " Immortal." Apparently, with all his desire to write for the stage, Daudet must have been inadequately endowed with the dramaturgic faculty, that special gift of playmaking which many a poet lacks and many a novelist, but which the humblest playwright must needs have and which all the great dramatists have possessed abundantly in addition to their poetic power. Perhaps it was the unfavorable reception of his successive dramas which is responsible for the chief of Daudet's lapses from the kindliness with which he treats the characters that people his stories. He seems to have kept hot a grudge against the theatre : and he relieves his feelings by taking it out of the stage-folk he introduces into his novels. To actors and actresses he is intoler- ant and harsh. What is factitious and self-over- valuing in the Provenqal type, he understood and he found it easy to pardon ; but what was factitious and self-overvaluing in the player type, he would not understand and he refused to pardon. And here he shows in strong contrast with a successful dramatist, M. Ludovic Hal^vy, whose knowledge of the histrionic temperament is at least as wide as Daudet's and whose humor is as keen, but whose judgment is softened by the grateful memory of many victories won by the united effort of the author and the actor. Through his brother's influence, Alphonse Daudet Alpho7ise Daudet, xvii was appointed by the Duke de Morny to a semi- sinecure; and he has recorded how he told his benefactor before accepting the place that he was a Legitimist and how the Duke smilingly retorted that the Empress was also. Although it was as a poet that Daudet made his bow in the world of letters, his first appearance as a dramatist was not long delayed thereafter ; and he soon came forward also as a journalist, — or rather as a contributor to the papers. While many of the articles he prepared for the daily and weekly press were of ephemeral interest only, as the necessity of journalism demands, to be forgotten forty-eight hours after they were printed, not a few of them were sketches having more than a temporary value. Parisian newspapers are more hospitable to literature than are the news- papers of New York or of London ; and a goodly proportion of the young Southerner's journalistic writing proved worthy of preservation. It has been preserved for us in three volumes of short stories and sketches, of fantasies and im- pressions. Not all the contents of the " Letters from my Mill," of the "Monday Tales" and of "Artists' Wives," as we have these collections now, were written in these early years of Dau- det' s Parisian career, but many of them saw the light before 1870, and what has been added since conforms in method to the work of his 'prentice days. No doubt the war with Prussia enlarged his outlook on life; and there is more depth in the satires this conflict suggested and more pathos xviii Alphonse Daudet. in the pictures it evoked. The "Last Lesson," for example, that simple vision of the old French schoolmaster taking leave of his Alsatian pupils, has a symbolic breath not easy to match in the livelier tales written before the surrender at Sedan; and in the "Siege of Berlin" there is a vibrant patriotism far more poignant than we can discover in any of the playful apologues published before the war. He had had an inside view of the Second Empire, he could not help seeing its hollowness, and he revolted against the sel- fishness of its servants; no single chapter of M. Zola's splendid and terrible "Downfall" con- tains a more damning indictment of the leaders of the imperial army than is to be read in Dau- det's "Game of Billiards." The short story, whether in prose or in verse, is a literary form in which the French have ever displayed an easy mastery; and from Daudet's three volumes it would not be difficult to select half-a-dozen little masterpieces. The Provencal tales lack only rhymes to stand confessed as poesy ; and many a reader may prefer these first flights before Daudet set his Pegasus to toil in the mill of realism. The "Pope's Mule," for in- stance, is not this a marvel of blended humor and fantasy? And the "Elixir of Father Gaucher," what could be more naively ironic ? Like a true Southerner, Daudet delights in girding at the Church; and these tales bristle with jibes at ecclesiastical dignitaries; but his stroke is never Alphonse Daudet. xix malignant and there is no barb to his shaft nor poison on the tip. Scarcely inferior to the war-stories or to the Provencal sketches are certain vignettes of the capital, swift silhouettes of Paris, glimpsed by an unforgetting eye, the " Last Book," for one, in which an unlovely character is treated with kindly contempt; and for another, the "Book-keeper," the most Dickens-like of Daudet's shorter pieces, yet having a literary modesty Dickens never at- tained. The alleged imitation of the British novelist by the French may be left for later con- sideration; but it is possible now to note that in the earlier descriptive chapters of the " Letters from my Mill " one may detect a certain similar ity of treatment and attitude, not to Dickens but to two of the masters on whom Dickens modelled himself. Goldsmith and Irving. The scene in the diligence, when the baker gently pokes fun at the poor fellow whose wife is intermittent in her fidelity, is quite in the manner of the "Sketch Book." There is the same freshness and fertility in the collection called "Artists' Wives" as in the "Letters from my Mill," and the "Monday Tales," but not the same playfulness and fun. They are severe studies, all of them; and they all illustrate the truth of Bagehot's saying that a man's mother might be his misfortune, but his wife was his fault. It is a rosary of marital infe- licities that Daudet has strun