When we come to Alphonse Daudet, time enough has elapsed for realism
to evolve into naturalism so-called. Naturalism is realism stark-naked
--the dissecting-room, and a good deal besides, which Monsieur Zola
illustrated well but not wisely. Daudet, fortunately for his
reputation, was a naturalist _sui generis_, with a delicate artistic
perception altogether lacking to the author of the Rougon-Macquart
series. He was also an independent, but willing to take lessons in his
trade. And how much he learnt from _Cousin Bette_ may be judged by his
_Numa Roumestan_ and _Froment Jeune et Rissler aine_. There are close
analogies also between the best of Balzac's fiction and the sombre
realism of the _Evangeliste_, based on tragic facts that had come
under Daudet's personal notice. Of the two realisms Daudet's is
certainly the more genuine, with its lambent humour that glints on
even the saddest of his pictures.
In neither the naturalistic school of fiction, nor the psychological,
in so far as the latter is represented by Bourget, has Balzac's
influence been a gain. Bourget has borrowed Balzac's furniture, his
pompous didacticism, his occasional indecency--in fine, all that is
least essential in the elder's assets, without learning how to breathe
objective life into one of his characters.
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