Sand François the Waif

1. Auflage 2022
ISBN: 978-3-98744-866-9
Verlag: OTB eBook publishing
Format: EPUB
Kopierschutz: 0 - No protection

E-Book, Englisch, 121 Seiten

Reihe: Classics To Go

François the Waif is a short novel by George Sand, first published in 1848. It forms part of her series of pastoral novels which evoke on the peasant world of the author's home region of Berry. The series also includes The Devil's Pool, Little Fadette, and The Bagpipers. François the Waif tells the story of the foundling, François, and his life with his adopted mother Madeleine. (Google)

Autoren/Hrsg.

Sand, George

Leseproben

THE WAIF INTRODUCTION R*** AND I were coming home from our walk by the light of the moon which faintly silvered the dusky country lanes. It was a mild autumn evening, and the sky was slightly overcast; we observed the resonance of the air peculiar to the season, and a certain mystery spread over the face of nature. At the approach of the long winter sleep, it seems as if every creature and thing stealthily agreed to enjoy what is left of life and animation before the deadly torpor of the frost; and as if the whole creation, in order to cheat the march of time, and to avoid being detected and interrupted in the last frolics of its festival, advanced without sound or apparent motion toward its orgies in the night. The birds give out stifled cries instead of their joyous summer warblings. The cricket of the fields sometimes chirps inadvertently; but it soon stops again, and carries elsewhere its song or its wail. The plants hastily breathe out their last perfume, which is all the sweeter for being more delicate and less profuse. The yellowing leaves now no longer rustle in the breeze, and the flocks and herds graze in silence without cries of love or combat. My friend and I walked quietly along, and our involuntary thoughtfulness made us silent and attentive to the softened beauty of nature, and to the enchanting harmony of her last chords, which were dying away in an imperceptible pianissimo. Autumn is a sad and sweet andante, which makes an admirable preparation for the solemn adagio of winter. "It is all so peaceful," said my friend at last, for, in spite of our silence, he had followed my thoughts as I followed his; "everything seems absorbed in a reverie so foreign and so indifferent to the labors, cares, and preoccupations of man, that I wonder what expression, what color, and what form of art and poetry human intelligence could give at this moment to the face of nature. In order to explain better to you the end of my inquiry, I may compare the evening, the sky, and the landscape, dimmed, and yet harmonious and complete, to the soul of a wise and religious peasant, who labors and profits by his toil, who rejoices in the possession of the life to which he is born, without the need, the longing, or the means of revealing and expressing his inner life. I try to place myself in the heart of the mystery of this natural rustic life—I, who am civilized, who cannot enjoy by instinct alone, and who am always tormented by the desire of giving an account of my contemplation, or of my meditation, to myself and to others. "Then, too," continued my friend, "I am trying to find out what relation can be established between my intelligence, which is too active, and that of the peasant, which is not active enough; just as I was considering a moment ago what painting, music, description, the interpretation of art, in short, could add to the beauty of the autumnal night which is revealed to me in its mysterious silence, and affects me in some magical and unknown way." "Let us see," said I, "how your question is put. This October night, this colorless sky, this music without any distinct or connected melody, this calm of nature, and the peasant who by his very simplicity is more able than we to enjoy and understand it, though he cannot portray it—let us put all this together and call it primitive life, with relation to our own highly developed and complicated life, which I shall call artificial life. You are asking what possible connection or direct link can there be between these two opposite conditions in the existence of persons and things; between the palace and the cottage, between the artist and the universe, between the poet and the laborer." "Yes," he answered, "and let us be exact: between the language spoken by nature, primitive life, and instinct, and that spoken by art, science,—in a word, by knowledge." "To answer in the language you have adopted, I should say that the link between knowledge and sensation is feeling." "It is about the definition of feeling that I am going to question you and myself, for its mission is the interpretation which is troubling me. It is the art or artist, if you prefer, empowered to translate the purity, grace, and charm of the primitive life to those who only live the artificial life, and who are, if you will allow me to say so, the greatest fools in the world in the presence of nature and her divine secrets." "You are asking nothing less than the secret of art, and you must look for it in the breast of God. No artist can reveal it, for he does not know it himself, and cannot give an account of the sources of his own inspiration or his own weakness. How shall one attempt to express beauty, simplicity, and truth? Do I know? And can anybody teach us? No, not even the greatest artists, because if they tried to do so they would cease to be artists, and would become critics; and criticism—" "And criticism," rejoined my friend, "has been revolving for centuries about the mystery without understanding it. But, excuse me, that is not exactly what I meant. I am still more radical at this moment, and call the power of art in question. I despise it, I annihilate it, I declare that art is not born, that it does not exist; or, if it has been, its time is past. It is exhausted, it has no more expression, no more breath of life, no more means to sing of the beauty of truth. Nature is a work of art, but God is the only artist that exists, and man is but an arranger in bad taste. Nature is beautiful, and breathes feeling from all her pores; love, youth, beauty are in her imperishable. But man has but foolish means and miserable faculties for feeling and expressing them. He had better keep aloof, silent and absorbed in contemplation. Come, what have you to say?" "I agree, and am quite satisfied with your opinion," I answered. "Ah!" he cried, "you are going too far, and embrace my paradox too warmly. I am only pleading, and want you to reply." "I reply, then, that a sonnet of Petrarch has its relative beauty, which is equivalent to the beauty of the water of Vaucluse; that a fine landscape of Ruysdael has a charm which equals that of this evening; that Mozart sings in the language of men as well as Philomel in that of birds; that Shakspeare delineates passions, emotions, and instincts as vividly as the actual primitive man can experience them. This is art and its relativeness—in short, feeling." "Yes, it is all a work of transformation! But suppose that it does not satisfy me? Even if you were a thousand times in the right according to the decrees of taste and esthetics, what if I think Petrarch's verses less harmonious than the roar of the waterfall, and so on? If I maintain that there is in this evening a charm that no one could reveal to me unless I had felt it myself; and that all Shakspeare's passion is cold in comparison with that I see gleaming in the eyes of a jealous peasant who beats his wife, what should you have to say? You must convince my feeling. And if it eludes your examples and resists your proofs? Art is not an invincible demonstrator, and feeling not always satisfied by the best definition." "I have really nothing to answer except that art is a demonstration of which nature is the proof; that the preëxisting fact of the proof is always present to justify or contradict the demonstration, which nobody can make successfully unless he examine the proof with religious love." "So the demonstration could not do without the proof; but could the proof do without the demonstration?" "No doubt God could do without it; but, although you are talking as if you did not belong to us, I am willing to wager that you would understand nothing of the proof if you had not found the demonstration under a thousand forms in the tradition of art, and if you were not yourself a demonstration constantly acting upon the proof." "That is just what I am complaining of. I should like to rid myself of this eternal irritating demonstration; to erase from my memory the teachings and the forms of art; never to think of painting when I look at a landscape, of music when I listen to the wind, or of poetry when I admire and take delight in both together. I should like to enjoy everything instinctively, because I think that the cricket which is singing just now is more joyous and ecstatic than I." "You complain, then, of being a man?" "No; I complain of being no longer a primitive man." "It remains to be known whether he was capable of enjoying what he could not understand." "I do not suppose that he was similar to the brutes, for as soon as he became a man he thought and felt differently from them. But I cannot form an exact idea of his emotions, and that is what bothers me. I should like to be what the existing state of society allows a great number of men to be from the cradle to the grave—I should like to be a peasant; a peasant who does not know how to read, whom God has endowed with good instincts, a serene organization, and an upright conscience; and I fancy that in the sluggishness of my useless faculties, and in the Ignorance of depraved tastes, I should be as happy as the primitive man of Jean-Jacques's dreams." "I, too, have had this same dream; who has not? But, even so, your reasoning is not conclusive, for the most simple and ingenuous peasant may still be an artist; and I believe even that his art is superior to ours. The form is different, but it appeals more strongly to me than all the forms which belong to civilization. Songs, ballads, and rustic tales say in a few words what our literature can only amplify and disguise." "I may triumph, then?" resumed my friend. "The...