THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA LOS ANGELES THE DEAD LEMAN AND OTHER TALES FROM THE FRENCH THE DEAD LEMAN AND OTHER TALES FROM THE FRENCH ANDREW LANG AND PAUL SYLVESTER LONDON SWAN SONNENSCHEIN & CO. PATERNOSTER SQUARE 1889 BtJTtm * TABB. TBI BSIATOOD Pwmrwo WORKS, FROK, AITD LouixR'. CONTENTS PAGE INTRODUCTION . . . ... . . vii THE DEAD LEHAN . . 1 HOW WE TOOK THE REDOUBT .... 56 THE TAPER 67 THESE LOTS TO BE SOLD . " . . . .86 A CONVERSION 169 THE ETRUSCAN YASE 248 THE DOCTOR'S STORY . 289 524377 LIBRAM INTRODUCTION. IN England, short stories tales which may be read in half an hour are not so popular as they are in France This may perhaps be explained, and certainly it must be regretted. In a brief narrative, or romance, nothing should be wasted, nothing should be super- fluous, all should converge rapidly so as to produce the desired effect, or to enhance the interest of the given situation. Hence it is a misfortune that Eng- lish taste is intolerant of short stories. They are welcomed in a magazine or journal ; when collected they are looked on with suspicion. Not long ago a critic in Blackwood's Magazine rebuked Mr. Steven- son for publishing a set of contes in a volume, as if the performance were almost dishonourable. Some strange prejudice whispers, apparently, that a short vii Vlll INTKODUCTION. story must be a "pot boiler," or at best a rough sketch. Almost the reverse of this theory is often true. A writer has an idea, say, a set of characters, or a given situation, which ought to be given in some twenty pages. But he is made to understand that he cannot afford thus to waste his idea. If he treats it as it should be treated, he produces a magazine tale which is not very remunerative ; and if he were to write a dozen small master-pieces, and reprint them in a volume, he would have, at best, a little praise as the reward of his toil. The result is that the inventor pads and bolsters his idea out into a three-volume novel. He wastes his conception, he dilutes it, he surrounds it with a mob of needless characters, and a world of unnecessary incident ; but, at last, he has a three- volume novel before him. It is not, artistically, worth a fraction of what the brief conte would have been worth ; but it is comparatively prosperous in the commercial sense. So notorious is this, that when an English author has accumulated a budget of brief tales, his publisher often puts them forth in three volumes, under the title of one or other INTRODUCTION. IX of the narratives. Thus an unwary public may get short stories from Mr. Mudie's without intending it, under the impression that a regular novel has arrived. In this way the art of fiction suffers, the author suffers, and beginners feel obliged to write three volumes of vast and wandering narrative before they have proved, in less laborious fashion, and in a limited field, whether or not they possess the right of telling a story at all. In France the conte, or short story, has always been more fortunate. It is needless, here, to trace the descent of the conte from the old fabliau, and from the light rhymed tales of La Fontaine. Many circumstances made the short story popular in France. Perhaps the more quick and eager intellect of the people does not dread, as we dread, the effort of awakening the attention afresh a dozen times in one volume. In England we seem to dislike this effort. We prefer to make it only once, to get interested in the characters once for all, and then to loiter with them through, perhaps, 400,000 words of more or less consecutive narrative. If this theory be correct, short stories will never have much success INTRODUCTION. in England, and, consequently, will not often be well written, because there is no prize in praise or money offered to him who writes them well. It would be hard to mention a single collection of conies which has really prospered among English-speaking people, except the stories of Poe. Experience proves that the least excellent of Hawthorne's romances is better liked than his volumes of little master-pieces. We seem to hate literary kickshaws, and to clamour for a round of literary beef. Older authors, Fielding and Dickens, at first mixed up brief tales in their long stories, but such tales were felt to be superfluous. Only one of them is immortal, " Wandering Willie's Tale," in Redgauntlet, that perfect model of a conte in whose narrow range, humour, poetry, the gro- tesque, the terrible are combined as in no other work of man. The French short story has for ally the agility of the French mind, which does not decline the labour of awaking its attention afresh at brief intervals. The comparative licence of French art is also favour- able to the conte. A short story needs a very power- ful motive or situation, and the French can use motives INTRODUCTION. XI and situations, both serious and ludicrous, which the British author must avoid. It is not necessary to discuss here the morality of many conies by M. Guy de Maupassant, by " Gyp," by Theo Critt, and half a dozen others. But it is plain to every observer that these writers are permitted to approach sources of mirth, of horror, of pity, of curiosity, which are closed against their English contemporaries. Now the very strength, or if any one prefers it, the very violence of the emotions which the British author has to shun, are congenial to the character of the short story. The conte has little room for the links and loops of an English love affair, whether it has to end in marriage or in a broken heart. Adventure, accident, incident, are more appropriate themes, and there are stores of comic or tragic ideas, which we can only read about in the comparative obscurity of a foreign language. The supernatural offers motives well suited to the short story, because in the short story you have not time to become familiar with the strange and the terrible. On the other hand, a ghost who pervades a whole novel, like the White Lady of Avenel, or the spectre in the Wizard's Son, ceases to alarm or greatly to interest. Xll INTRODUCTION. We may use the supernatural in English, and our tales -which deal with it Wandering Willie, Thrawn Janet, The Beleaguered City are perhaps better than anything of the kind in French. It would be difficult to name a good ghost story in French, though George Sand has a delicate touch in the supernatural. In spite of our advantage here, it is curious that Poe, the master of the conte in English, never introduces the supernatural as an agent in his plots. It is not probable that the stories in this little collection will win many English readers to an affection for the conte, though the translators hope against hope for this result. There are, apparently, people in this highly over- educated realm of England who prefer to read French stories in English. To them, if they care to leave their translations of M. Fortune du Boisgobey and M. Zola, these versions of tales more or less representative and classic are respectfully offered. They are chosen from various authors well known to fame, and it is curious that, in one respect, they lack variety. The motive is usually terrible and tragic, probably because, as we have said, the short story needs powerful and striking situa- INTEODUCTION. Xlll tions. Comic situations will also do, of course, but here the difference between the French and the English literary taste for jokes comes in. The anec- dotes which we and the Americans "swap" in con- versation, the " good stories " of oral tradition, and of smoking rooms, are worked over by the French with literary skill. But then they are " gentlemen's stories," as one of Thackeray's ladies says, and shall not by us be introduced to our audience, when the British matron may be present, A few words may be said about the tales of which we offer versions. The Dead Leman is from La Morte Amoureuse of Theophile Gautier. Yery probably this is one of the tales concerning which he told MM. de Goncourt that he often began them in verse, but was forced after all, by the public hatred of poetry, to tell them in prose. It is rather a poetic impression, than a sense of spiritual dread, (like that which haunts readers of Mr. Stevenson's Thrawn Janet,} that Gautier meant to produce. The two real elements of his genius, as he said himself, were wild buffoonery and deep melan- choly. He might have added, a singular love of XIV INTKODUCTION. things rich, bright, coloured, and luxurious, of gold, and roses, and ivory, and a rare skill in paint- ing them with epithets. Examples of this are common in La Morte Amoureuse. Had the tale been successful enough, he would have been accused by spiteful smatterers of stealing it from the famous and terrible Greek ghost story which opens the book of Phlegon, De Mirabilibus. But Phlegon's tale of the Dead Bride is told with the " realism " of De Foe, and a person with a taste for ghosts may shudder as he reads Gautier scarcely aims at this result. From Balzac we have only taken " The Doctor's Story," La Grande Breteche. As this version may fall into the hands of a reader who does not know the plot, it is only possible to hint at its resemblances to one of Poe's best-known tales. From Merimee we take the spirited story of the "Capture of the Kedoubt," and " The Etruscan Vase/' chiefly because in the hero Merimee sketched him- self, at least if M. de Goncourt's report is correct. 1 " They tell me that Merimee is a thing wholly 1 Journal, Jan. 3, 1864. INTRODUCTION. XV compact of the fear of ridicule, which fell out thus : When he was a child, he was scolded one day, and as he left the room he heard his father and mother laugh at his dolorous face. " He swore that he would never be laughed at again; he kept his word, and he dried up in the process." Saint Clair did not wholly "dry up" in "The Etruscan Yase," and probably Merimee, when he wrote the tale, was protesting in his own favour. " These Lots to be Sold," is a fair example of About' s lighter manner, and " A Conversion " is a specimen of the lady's work who calls herself Th. Bentzon. Perhaps a few words should be said on transla- tion. Some arts have been lost ; the art of trans- lation has never been discovered. All translators labour after it ; we seek it like hidden treasure ; we never find it. You cannot pour the wine with- out spilling "from the golden cup to the silver." Plenty of the original vintage has been spilt in these attempts to pour it forth ; the English language will not reply in tune to the touch of the French. Perhaps this is most obvious in The XVI IJSTTEODUCTION. Dead Leman, because the faint archaism, the perfume, the poetry of Gautier's prose is the most difficult to reproduce. An American attempt has been made. We refrain from quoting this essay, in which Romuald does not go to bed, but "retires," and in which nothing begins, but everything