C',HM.SN!E LACERTEUX E.&J.dc GONCOURT THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA LOS ANGELES THE FIRST EDITION OF THIS BOOK CONSISTS OF THREE THOUSAND NUMBERED COPIES THIS IS NUMBERl.43 GERMINIE LACERTEUX UNIFORM WITH THIS VOLUME MADAME BOVARY BY GUSTAVE FLAUBERT Translated Jrom the French by ELEANOR MARX-AVEUNC \Vitb an Introduction by BURTON RASCOE MANON LESCAUT BY THE ABBE PREVOST Translated Jrom the French With an Introduction by BURTON RASCOE MLLE. DE MAUPIN BY THEOPHILE GAUTIER Translated from the French With an Introduction by BURTON RASCOE NANA BY EMILE ZOLA Translated Jrom the French With an Introduction by ERNEST BOVD GERMINIE LACERTEUX BY EDMOND AND JULES DE GONCOURT Translated from the French. With an Introduction by ERNEST BOYD NEW YORK ALFRED ' A ' KNOPF 1922 COPYRIGHT, 1922, BY ALFRED A. KNOPF, INC. Publitkfd Stpumbtr. 1933 Composition, electrotypint, printing and binding by Tke Plimpton Press, Norwood, Mass. Paper supplied by W. P. Etherinfton fir Co., Nev York, If. 7. MANUFACTURED IN THE UNITED STATES OF AMERICA College Library ' INTRODUCTION MODERN FRENCH LITERATURE is, / fMn&, unique in the number of instances where brothers have made their names by work written in collaboration. The first of such partnership was that of Edmond and Jules de Goncourt, who have been followed by Paul and Victor Margueritte, "J. H. Rosny," and Jean and Jerome Tbaraud, all oj whom have been asso- ciated in one way or another with their great predecessors. The two brothers "Rosny" and Paul Margueritte are members of the Goncourt Academy, while the Tbarauds' first considerable work, Dingley, Pillustre ecrivain, re- ceived one of the earliest of the Goncourt prizes. Since the honour of winning that Prize is almost equalled by the distinction of nearly getting it, it ought perhaps to be re- corded that the brothers whose signature is Marius Ary Leblond achieved that degree of fame on the second occa- sion when the Goncourt Prize was awarded in 1904! How- ever, I do not wish to stress unduly the natural interest which the Goncourt Academy must have in the work of brother collaborators, for the partnership of "J. H. Rosny" has resolved itself into the separate use of their joint pseu- donym, with the addition of "Junior" and "Senior," while Paul and Victor Margueritte parted company after some years. Thus Jean and Jerome Tharaud remain the most important examples of the method of collabora- tion which made Edmond and Jules de Goncourt famous. How closely the latter worked together, and how identi- cal their minds were, has been attested by innumerable INTRODUCTION passages in that famous Journal des Goncourts which so largely occupied the closing years oj the surviving brother's life. In the last volume Edmond has left an interesting account of their collaboration. "Our tempera- ments," be says, "were absolutely different: my brother's nature was gay, spirited and expansive; mine was melan- choly, dreamy and concentrated," but if they looked at the exterior world with different eyes they received the same impressions. "My brother, I confess, was a greater styl- ist, be bad more power over words, than I, whose only advantage over him was my greater capacity for visualis- ing the world about us. . . . When we began my brother was under the influence of Jules Janin and I under that of Tbeopbile Gautier, and in En 18 . . . these two ill- assorted models are recognisable, giving to our first book the character of a work from two distinct pens" As their work progressed there came "the fusion, the amalgamation of our two styles, which united in the creation of a single style, very personal, peculiarly Goncourt." Finally it came about that Jules de Goncourt " attended particularly to the writing and I to the construction of the work. He was seized with a rather contemptuous disinclination to seek, to find and to invent, although be could always ima- gine a more striking detail than I when be took the trouble." The younger brother always protested against the multipli- cation of books and Edmond declares that it was largely out of affection for him that Jules was induced to go on. "I was born," the latter used to say, "to write in a life- time just one little duodecimo volume like la Bruyere, just one little volume.'' Their actual method of working together was described by Edmond de Goncourt in a letter to Georg Brandes. "As soon as we bad agreed as to the plan, we would smoke for an hour or two and talk over the section, or rather the paragraph, which bad to be written. Then we wrote it, each C viii ] INTRODUCTION in a separate room, and read to each other what each oj us bad written, either choosing without discussion which- ever was the better, or making a combination of whatever was least imperfect in the two compositions. But even when one oj the two was completely sacrificed, there was always something of both in the paragraph when definitely arranged and polished, though it might be only the addi- tion of an adjective, the repetition of a phrase, or the like." Out of that collaboration came Soeur Philomene, Renee Mauperin, Germinie Lacerteux, Manette Salmon and Madame Gervaisais, not to mention their 'prentice efforts, En 1 8 . . , La Lorette and Charles Demailly. After bis brother's death Edmond de Goncourt wrote four novels, La Fille Elisa, Les Freres Zemganno, La Faustin and Cherie, and it is on these twelve works of fiction that the fame of the brothers Goncourt rests, although as the social historians of eighteenth century France, and as connois- seurs of French and Japanese art, their achievements have been recognised by specialists. It would be difficult to find a body of first-rate fiction whose history has been more full of accidents and contro- versies than the novels of Edmond and Jules de Goncourt. They began their career with En 18 . ., which appeared on December 2, 1851, the day selected for the coup d'etat which gave France her Third Napoleon and her Second Empire. The panic-stricken publisher, fearful of the political heresies which might be concealed in this youthful work, at once got rid of it, and in the turmoil of the times little attention was paid to the few copies which managed to circulate. Jules Janin, doubtless recognising the style of a disciple, gave the book a long review in the Journal des Debats, but Paris was busy with more press- ing matters than the debut of the brothers Goncourt. A year later the discretion of their publisher was proven by the fact that the authors were accused of publishing an INTRODUCTION article which was an outrage on public morals. They bad quoted some lines by Tabureau from Sainte-Beuve's Tableau historique et critique de la poesie francaise, which the moral regime oj the newly-fledged Empire re- garded as obscene, although this work (now Jamiliar in the college class-room) bad been crowned by the French Academy! The case was going against them, but a post- ponement was secured, and in the interval a change in the judiciary gave the Goncourts a powerful Jriend in court, with the result that they were acquitted. The verdict was very like that delivered in the case oj Madame Bovary, and is worth quoting, " Whereas the incriminating pas- sages oj the article suggest to the mind oj the reader pictures which are obviously licentious and, therefore, reprehensible, nevertheless, it is evident from the article as a whole that the authors oj the work in question bad no intention oj committing an offense against decency and public morals." In 1853 L 3 - Lorette, a novel which has been allowed to lapse into the limbo oj rare editions, caused the authors some apprehension, as the authorities bad marked them as dangerous characters. An entry in the Journal states that this book, whose title indicates its nature, was "sold out within a week," and was "a revelation to us that it was possible to sell a book." This now unprocurable work is, by a characteristic irony of literary fate, the only publication of the Goncourts which gave rise to no diffi- culties, and about whose reception they have recorded no complaint. Charles Demailly (1860), which was origi- nally entitled Les hommes de lettres, bad little success and was denounced as an unfriendly attack upon the sacred order of men of letters by the . . . journalists. It was not until 1861 that the first of their major novels, Soeur Philomene, appeared after many difficulties, hav- ing been refused by Michel Levy on the ground that the INTRODUCTION subject was depressing. It eventually had what the Gon- courts describe as the "triste succes" oj being issued by an unimportant firm, and of being more or less ignored. In this work, and its successor, Renee Mauperin (1864), Edmond and Jules de Goncourt definitely developed the method both in the selection of the theme and its develop- ment which was to be their special contribution to the modern French novel. But it was in Germinie Lacer- teux, that they launched their most striking challenge to all hitherto accepted conventions. This work was published in 1864, with a preface which began: "We must apologise to the public for giving" "them this book, and warn them of its contents. The" "public like novels that are untrue. This is a true novel. " "They like books which seem to take them into society:" "this work comes from the streets. They like nasty little" "works, the reminiscences of prostitutes, bedroom con-" "fessions, erotic filth, the scandals indecently exposed in" "booksellers' windows. What they are about to read is" "severe and pure. They need not expect photographs of "Pleasure in evening-dress. This is a clinical study of" "Love." "Furthermore the public like harmless and comforting" "stories, adventures that end happily, ideas which dis-" "turb neither their digestion nor their peace of mind." "This book, with its harsh and sad fable is designed to" "interfere with their habits and to upset their health." " Why, then, did we write it? Was it simply to shock" "the public and to insult their tastes?" "No." "Living in the nineteenth century, in a time of univer-" "sal suffrage, of democracy, of liberalism, we wondered"