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The Writer's Way in France
Robert Greer Cohn

The Writer's
in France

Philadelphia
University of Pennsylvania Press
© 1960 by the Trustees of the University of Pennsylvania
Published in Great Britain, India, and Pakistan
by the Oxford University Press
London, Bombay, and Karachi
Library of Congress Catalog Card Number: 60-9751
Printed in the United States of America
To Henri Peyre
Contents

Preface 9

Introduction 11

PART I: The Creative Temperament 25

PART II: The Writer In Time

1. Obscure Beginnings 59
2. From Barbarism to Young Culture 69
3. The Vocation 111
4. The Enlightened Vocation 129
j. In the Age of Reason 169
6. From Rousseau to Proust 186
Postscript to Part II 238

PART III: Some Texts

1. Tristan; Perceval 245

2. Rimbaud 267
3. Proust's Way 327
Appendices
I. Poetry of Light and Radiant Darkness 409
II. A Note on the Idea of Progress in Art 421
III. Some Pre-critical Concepts 424

Bibliography 431

Index 437
 Preface

This book is an attempt to bring out, through a fresh set

of lenses, some keenly artistic and cognitive values of
French literature which have been hitherto obscured or
altogether hidden: first, by tracing the evolution of theme,
imagery, style, genre via representative figures from the
earliest known native origins to the crowning work of the
Symbolists and, second, by the close elucidation, in terms
of the general purview, of some selected texts. Obviously,
there is intended here something quite different from the
standard history, with its bias for spread and hospitality to
the lesser lights, the idea being not at all to vie with the
Lansons or the Castex and Surers but rather to supplement
them in the direction of recent and original critical insights.
Some explanation is due concerning the separate studies
in the final section of the book. Since, given their scope,
10 THE WRITER'S WAY IN FRANCE
only a few could be included in this single volume, they
are offered as examples, with no pretensions at covering
the various periods and styles. But it is my purpose to
round out the project in time through a series of com-
panion volumes, the earliest of which will be devoted to
Montaigne, Pascal, Racine, Rousseau, Vigny, and Baude-
laire.
To Henri Peyre an inkling of my gratitude for his
numerous kindnesses is expressed by the dedication on a
previous page. It is no doubt slight tribute to add that if
I acknowledged his masterly influence wherever it oc-
curred my text would be dotted with his name: my feel-
ings are better put by saying that he is an inspiring repre-
sentative of French taste, thought, and idealism.
Appreciative mention is likewise owed to several friends
who helped me variously: Joseph Church, William Barrett;
the John Simon Guggenheim Foundation for making pos-
sible a year of uninterrupted work; and the late, brilliantly
talented, and very much missed Walter Stone.
For permission to quote a part of his "Castles and Dis-
tances" (Ceremony and Other Poems [Harcourt, Brace &
Co.]) I am indebted to Richard Wilbur.
There remains to be noted the close participation of
Dorrit, my wife, in this enterprise, over the conception of
which she hovered constantly, benignly like an Athena.
Blessedly merciless critic and self-effacing noble encourager,
without her the final product would have been considerably
worse than it is.

Poughkeepsie, N.Y.
May, 1959
ROBERT G R E E R C O H N
 Introduction

For several years, in the English-speaking countries, we

have been witnessing the first signs of a gentle but evident
decline in the influence of the New Critics. To interested
observers both in and out of the universities, by now they
seem to have gone too far in the direction of text for text's
sake, so that the time appears to be ripe for a swing of the
pendulum the other way. The full implications of this
"other way" are still less than clear; for although it seems
inevitable that there will be some form of return to the
traditional—historical, even broadly biographical—approach,
the question is: how far back? Another dimension or corol-
lary aspect of the same problem is apt to arise at this junc-
12 THE WRITER'S WAY IN FRANCE
ture: where should the critic take his stand between the
"impressionistic" appreciation of art and the scientific ap-
proach (linguistic, psychological, anthropological) of re-
cent critics, including various "new" ones?
In "The Frontiers of Criticism," T . S. Eliot has recently
attempted, within modest limits, to define his own notions
on the subject, alluding to and slightly revising his earlier
views expressed in The Use of Poetry and the Use of
Criticism. Positively, he makes the scarcely startling but
acceptable statement that the function of criticism is to
enhance our enjoyment of literature; although he indicates
a fuller sense of the word "enjoyment," he leaves to our
imagination what this fuller sense might be. In a cautionary
vein, he sees danger for literary criticism in its becoming
too literary or impressionistic on the one side and on the
other too critical, too exegetic or explanatory, in that tradi-
tion which began with Coleridge and is carried on by the
scientific text-analysers of today. Eliot feels the latter
menace to be the realer one for our epoch, though he ad-
mires some "brilliant" contributions by Lowes, Richards,
Empson, and their disciples. His misgiving here likely stems
from a professional diffidence on the part of a practising
artist, who naturally has less interest than the full-time
critic, academic or otherwise, in all sorts of statements
about texts (Eliot himself in the talk puts an end to the
notion that he is much more than a "workshop" critic; we
will return to this point later on). One may question the
very use of the word "frontier" as applied to a region
which, however it may appear to the writer camped in the
middle of his art, to the critic looks more like a familiar
stamping-ground. And so, while finding himself in large
agreement with the mellowing Eliot's quite reasonable
position, still the critic is apt to find the sum of it slightly
 Introduction 13

off-center; he wants to establish his own view of what a

balanced position should be for our times, and even feels
it is his specific business to do so. In any case, Eliot's very
brief remarks on the subject, here and in previous essays,
leave practically everything to be said.1
Mediating of this sort—finding the right balance for his
particular public, between the art which is his main concern
and any rational discipline (including scientific ones)—
belongs, after all, to the literary critic and is in fact very
close to the essence of his function, of which the primary
dimension is precisely mediation, or matchmaking, between
the creator's special expression and the common discourse
of the public. The critic, in hypothetical distinction to both
the all-out artist and the purely prosaic man of affairs, is
a Janus-like figure with a twosided personality: he enjoys,
on the one hand, a major endowment of artistic tempera-
ment and is in some sense a frustrated creative writer, of
fiction or poetry; on the other hand, he has, far more than
the true poet and even the artistic novelist, a considerable
attachment to conformist society and its average expres-
sion. His way of integrating this divergent personality, of
uniting the two horns of his career's dilemma into the
magic potency of the unicorn, is through the catalyst of
his craft. When a like alchemy ensues in those readers who,
a step behind, are ready for it, the critic may confirm the
efficaciousness of his work by a certain glow: le courant
passe. The field of this function is quite varied, depending
not only on the critic's penetrative powers of the moment
but also on their area of application: he may limit himself
1
The reason I cite him is that he is a familiar reference point
and, despite his modest disclaimer in the talk, a pioneer of die New
Criticism so that his revisions are part of die pendulum swing in
the other direction and possess some historical interest.
14 T H E W R I T E R ' S W A Y EN F R A N C E
to interpreting the sensibility of a single esthetic expression,
one sonnet or short story, or he may describe and evaluate
a national literature. (The audience to whom he addresses
himself is equally varied, ranging from the general public
to an authentic avant-garde.)
Obviously, as the scope of his investigation grows in
breadth, it becomes increasingly difficult to maintain the
depth of feeling and perceptiveness which the critic can
muster for individual studies. This failure of sensibility was
the main target for Proust's recently published diatribe
against Sainte-Beuve, and similar charges can be levelled
against Hippolyte Taine's History of English Literature or
Sartre's Qi£est-ce que la littérature?—not to mention
historians like Lanson and Brunetière.2
Still, despite, or because of, the difficulties, the challenge
is always there: how far can a critic go in combining a
sensitivity to art rivalling the creator's with a literary
historian's range and, further, with a scientist's or philos-
opher's faculty for rational analysis?
In recent years, there have been some notable attempts
at meeting this challenge.3 Behind the backs of insular
2 In all these cases my awareness of their deficiencies is coupled

with genuine admiration for their remarkable qualities. Taine in

particular deserves a better fate than the one assigned to him by
current critical fashion (his chapter on Donne, for instance, goes
far to anticipate the modern appreciation of the metaphysical
poets). W e will have more to say on Sainte-Beuve in our Proust
chapter.
8 Completely ignored by the public, as we know from the sales

statistics. This is probably as it should be, though it certainly hurts.

Incidentally, if ours is an Age or Criticism, as Randall Jarrell claims,
it is permissible not to deplore the fact though we may deplore
some shoddy aspects of it (the temptation to excessive modisnness
is certainly rampant in our arriviste times). The increased activity
is due in part, at least, to a long previous lag in serious criticism in
America.
 Introduction 15

figures like Leavis4 and Eliot, who have been particularly

fashionable among those who yearn for a milder world or
some comforting socially exclusive myth rather than more
spiritual considerations,5 there is gradually appearing a new
kind of critic, as yet unclassified, best exemplified in
America by Auerbach, the later Blackmur, and Trilling. In
their work we find little cautious talk of "frontiers:" the
critic ventures as far toward the warm flowing South of
his love for art or the chilly, rigid North of his reason as
his integrating powers—or those of his readers in the more
vital centers of our temperate zone—allow him. He borrows
insights from various systematic disciplines (psychology,
philosophy, anthropology, semantics), but substitutes fluid
critical language for scientific jargon, inventing new terms
and formulations when necessary. Taking inspiration from
these pioneering senior contemporaries, this is what I pro-
pose to do in the present study: by bringing rationality to
bear upon whatever artistic sensitivity I can claim, to then
come up through the layers of what I have read over the
years to adumbrate the essential spirit of the main tradition
of French letters.® The procedure will be chronologically
'Relatively static ethical values determine in Leavis, and his
disciples, a somewhat conventional, priggish, and rhetorical critical
attitude. The leading Symbolists are dealt with in a reductionist
spirit of devastating common sense and empiricism coupled with
clique poise: smart, lit'ry, self-assured, informative, his views are
very often beside the point of art
8 No doubt, the questing artist, and the rare comparable critic,

would settle for such an attitude if "let be"; providentially, he is

not.
* Aside from reasons of personal limitation or preference and the
obvious importance of the French tradition (which Churchill has
called the seminal one of the West), there are certain advantages
ill restricting a study of this kind to one national culture which,
despite lively interchanges with others, possesses, as much as any-
thing does, an authentic unity.
16 THE WRITER'S WAY IN FRANCE
as follows: first, relying on some fresh thinking along the
lines of modern psychology and philosophy, to begin with
a definition of the creative temperament (Part I), since this
is the truest common denominator among the writers of
different eras (and even of the same era). This discussion
of the essential nature of the literary artist (what he is,
a statics) is followed by a survey of his main line of
development (what he becomes, a dynamics) in one
culture, the French. In this part of our study (Part II:
The Writer in Time), we trace the essential variations of
this temperament as, moving through the periods of French
history, it expresses itself in its important modes—themes,
rhythms, moods, genres, styles. Parts I and II together are
an attempt to present something which is not philosophy
(aesthetics), nor psychology, nor history of literature, nor
a "science of literature," nor anything else but criticism,
or what we may call "general criticism," a would-be
responsible view of one literature which can provide a
comprehensive background to the specific criticism of any
given French text. The final test of the validity of the
approach will be to elucidate, and enhance the reader's
enjoyment of, a group of separate texts (Part III) examined
and appreciated in intimate detail.
This word "enjoyment" clearly calls for further scrutiny
here. The role of mediator or matchmaker is a com-
poundedly ambiguous one—its motives are as mixed as its
colors—and any enviable soul that can dispense with such
services, in whatever context, certainly ought to do so. But
the artist too is an intermediary of sorts, whether between
the world and the reader or between the latter's selves,7
T
At the end of Troilus and Cressida, Pandarus, singing a little
song of the busy go-between honeybee, comes to stand for the
artist himself. His delight in double participation is represented
knowingly by Eliot's Tiresias.
 Introduction 17

and his conscience is less than pure, for he knows that by

recording the merest word to describe a beautiful ex-
perience he is marring in some sense its ineffability. In
spite of this he goes much farther and puts in the mouths
of his creatures rational formulations very much like those
of the critic,8 thereby very often pricking the bubble of
some lovely, but outgrown, illusion. The critic, at a dif-
ferent level, does to the artist the questionable thing that
the latter does to nature: he is always killing some joys
and creating some others, among these last being the very
human joy of knowing? But does criticism's act of posses-
sive love go too far in betraying its better half? Does it,
or at least a certain probing kind of it, destroy more than
it creates? There is anguish in that doubt—until one remem-
bers life's and honest art's power to resist our petty assaults.
Dig, thrust, scratch as we will, we shall soon be blunting
nothing but our fingernails. This childish gesture may
arouse mere smiles on the part of the Eivig-Weiblicbe who
may deign to embrace even the critic in her endless grace
and mystery.
And so ¿he dauntless critic must eventually accept him-
self with his various shortcomings; his next impulse should
be to try to "make the best of it" by proceeding steadfastly
toward the new challenge.
T o this end, a considerable part of his life will be spent
in the posture of Mallarmi's Hamlet: "He walks around
reading in the book of himself" in the hope of surprising
at its source a larger understanding of the nature of art.
Usually critics are too busy earning their living by journal-
8 More, some Symbolists have gone far beyond the critics in their

rational vision, stealing their thunder while the high priests of the
autonomous text go on mumbling their puristic cant; it is now up
to the critic to "take back his own" and retaliate by borrowing the
petite sensation of his beloved enemy.
9 Implying nonspecialized, but advanced, general understanding.
18 T H E WRITER'S WAY IN F R A N C E
ism or perhaps teaching to do very much of this sort of
thing;10 perhaps they do not respect the artist in themselves
sufficiently to take his processes very seriously. Whatever
the reason, the fact is that critics, particularly in America,
seldom go very far into such "pretentious" matters, and,
loftily dismissing the efforts of men like Blackmur and
Burke, generally prefer to maintain an easy conversational
tone within the range, say, of the urbane businessman
lunching at Longchamps (rather than the élite talk one
might overhear in the Deux Magots), while leaving the
ideational depths to the frogmen from the sciences.
Armored in their special jargon, off the intrepid scientists
go. Alas, given their rather unintuitive natures, they make
their dives with blinkered goggles on, and surface with
obviously partial accounts.11
1 0 In short, important criticism demands leisure comparable with

that of the serious creation of fiction, and in America this is prac-

tically unthinkable because of the elusively in-between nature of
the critic's calling, which confuses youthfully dynamic, well-mean-
ing people to the extent that they are apt to be unclear as to his
right to exist at all. This, incidentally, is why we have only a hazy
concept of the man of letters.
1 1 Conversely, when artists try to speak of themselves or each

other critically—in America recently we have had a spate of these

thin, inbred pronouncements (O'Hara on Hemingway being merely
the worst)—they tend to reassert ad nauseam and in garbled lan-
guage the artist's natural bias against naked ideas. When they are
practising critics to any extent (as opposed to potential ones, which
all artists should be) it is obviously to the detriment of a major
artistic expansion; thus Joyce said forthrightly to Frank Budgen:
"I am a bad critic" (Frank Budgen, "Further Recollections of
James Joyce," Partisan Review, Fall 1956, p. 539) and Mallarmé
wrote only ideal criticism for himself. As for Tolstoy, the less said
about his criticism, the better. Generally, criticism has the auton-
omy (implying fluid relations all around) of any manure institution;
the critical pronouncements of true artists are apt to be diverting
rather than serious, telling us more about the speaker than the sub-
ject; they may provide good hints which the critic can put to use,
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