THE FRENCH ACADEMY.
A seat amongst the 'forty Immortals' is the high and honourable aim of
every distinguished Frenchman. But the chequered history of the Academy
since its formation by Richelieu two centuries and a half ago, furnishes
another evidence of the truth that merit does not always secure its just
reward. Again and again have men illustrious in letters been passed
over, whilst those who had no claim upon the nation's regard have
snatched fortuitous honours by unworthy means. Amongst those who knocked
on more than one occasion at the doors of the French Academy in vain,
was Victor Hugo. That such a man must be ultimately successful was
beyond a doubt; but it says little for the Academy that it failed to
recognise his claims until its hostile attitude had become a scandal to
literature.
As a kind of apology for, or defence of his career, in 1834 Hugo
published his _Litterature et Philosophie Melees_. For those who could
see nothing but tergiversation in the development of his views, as
regarded from the Royalist standpoint of 1819 and the Revolutionary
standpoint of 1834, these collected papers presented a series of
progressive arguments well worthy of study. Nor was it merely from the
personal point of view that the author issued this work; he believed
that the gradual changes of thought which they revealed, all tending
towards a fuller liberty in art, politics, and literature, were but
typical of the states of mind through which a very large moiety of the
young thinkers of his generation had passed. That he did not spare the
crudities and defects which marked his own period of literary
adolescence will be apparent from this passage, in which he frankly
discusses his early compositions: 'There were historical sketches and
miscellaneous essays, there were criticism and poetry; but the criticism
was weak, the poetry weaker still; the verses were some of them light
and frivolous, some of them tragically grand; the declamations against
regicides were as furious as they were honest; the men of 1793 were
lampooned with epigrams of 1754, a species of satire now obsolete, but
very fashionable at the date at which they were published; next came
visions of regeneration for the stage, and vows of loyalty to the State;
every variety of style is represented; every branch of classical
knowledge made subordinate to literary reform; finally, there are
schemes of government and studies of tragedies, all conceived in college
or at school.'
The time had now come in which he demanded a larger scope. His ideas had
expanded, and while not abandoning the life contemplative, he desired to
become in some way the man of action, and to mingle in the literary and
political conflicts going forward around him. Taxed with forsaking the
study of Nature, the poet replied that he still loved that holy mother,
but in this century of adventure a man must be the servant of all.
Reviewing his political position, he felt that he had more than paid his
debt to the fallen monarchy, while he could at the same time
conscientiously acknowledge Louis Philippe. The recollection of a
pension was balanced by the confiscation of a drama, observes Madame
Hugo, and he was now his own master to follow out his convictions. In
the adoption of a public career there were two courses nominally open to
him. But with respect to one of these, that of entering the Chamber of
Deputies, he was met by an obstacle which completely disbarred him. He
was not a wealthy man, and by the electoral law of that day only wealthy
men could become deputies. Moreover, if he could have secured by some
means a nominal qualification, the electors looked askance upon literary
men. They regarded them as more fitted for the quietude of the study
than the bustling activity of the tribune. Lamartine was a deputy, it is
true, but he was a rare exception.
Abandoning all idea of the Chamber of Deputies at that time, Victor Hugo
next thought of the Chamber of Peers. But here again he was met by a
practical difficulty. In the selection of peers the King could only
choose men who had attained to certain dignities; and in Hugo's case
election to the Academy was the only qualifying dignity that was open to
him. To the Academy accordingly he appealed. The first vacancy occurred
in 1836. But Victor Hugo had enemies, and amongst these was Casimir
Delavigne, who had considerable weight amongst the Forty. M. Barbou
states that 'the poet of the imperial era was sickly and asthmatic, and
he detested Victor Hugo simply for his robustness and power.' When Dumas
canvassed Delavigne in the interest of his friend, the author of
_Notre-Dame_, Delavigne replied with warmth that he would vote for Dumas
with all his heart, but for Hugo never. The Academicians elected M.
Dupaty, probably on the principle that his fame was of such a restricted
character that it could not in the least detract from their own lustre.
Commenting upon his defeat, Hugo said, 'I always thought the way to the
Academie was across the Pont des Arts; I find that it is across the Pont
Neuf.'
Three years later there was another vacancy, and Hugo canvassed the
Academicians in turn. But the whole nature of his work was opposed in
spirit to the exclusives of the Academy, and it is not to be wondered
at, from this standpoint, that he failed to meet with a favourable
appreciation. However brilliant a candidate might be, most of the
members were unable to take a large and liberal view. Alexandre Duval
was especially bitter against Hugo, and when the poet was asked what he
had done to offend him, he replied, 'I had written _Hernani_.' Though in
a dying condition, Duval insisted upon being taken from his bed to vote
against Hugo. M. Mole was elected. In 1840 a third vacancy occurred, and
although Hugo was again a candidate, the Academicians elected M.
Flourens.
At length, in 1841, on the occasion of his fourth candidature, Victor
Hugo was successful. Amongst the distinguished men who voted for him
were Lamartine, Chateaubriand, Villemain, Mignet, Cousin, and Thiers. In
the list of those who opposed him were the names of only two men of real
note, Delavigne and Scribe. One, M. Viennet, voted for Hugo, though the
amusing anecdote is told concerning him that when the poet was made a
Chevalier of the Legion of Honour, he said he should like to claim 'the
cross of a chevalier for everyone who had the courage to read right
through any work of a romantic, and the cross of an officer for everyone
who had the wit to understand it!' Amidst much that is paltry in the
jealousies of literary men, it deserves to be stated to the honour of
Balzac that this eminent writer declined to become a candidate against
Victor Hugo.
The new Academician, who was by no means universally congratulated upon
his success, was received on the 3rd of June, 1841. According to custom
he was called on to pronounce a eulogium upon his predecessor, M.
Nepomucene Lemercier. His oration began with a description of the
splendour and power of Napoleon. Before his greatness, said the speaker,
the whole universe bowed down, with the exception of six contemplative
poets. 'Those poets were Ducis, Delille, Madame de Stael, Benjamin
Constant, Chateaubriand, and Lemercier. But what did their resistance
mean? Europe was dazzled, and lay, as it were, vanquished and absorbed
in the glory of France. What did these six resentful spirits represent?
Why, they represented for Europe the only thing in which Europe had
failed--they represented independence; and they represented for France
the only thing in which France was wanting--they represented liberty.'
Alluding still more directly to M. Lemercier, Hugo related that he was
on brotherly terms with Bonaparte the consul, but that when the consul
became an emperor he was no longer his friend. Finally, the orator
declared with much eloquence that it was the mission of every author to
diffuse civilization; and avowed that for his own part it had ever been
his aim to devote his abilities to the development of good fellowship,
feeling it his duty to be unawed by the mob, but to respect the people;
and although he could not always sympathize with every form of liberty
which was advocated, he was yet ever ready to hold out the hand of
encouragement to all who were languishing through want of air and space,
and whose future seemed to promise only gloom and despair. To ameliorate
the condition of the masses he would have every generous and thinking
mind lay itself out by devising fresh schemes of improvement; and
libraries, studies, and schools should be multiplied, as all tending to
the advancement of the human race, and to the propagation of the love of
law and liberty.
Victor Hugo's address was enthusiastically received by the bulk of the
members of the Academy, and the press generally commented upon it in
flattering terms. Times had changed since the poet had first called upon
M. Royer-Collard to solicit his vote, when the latter professed his
entire ignorance of Victor Hugo's name, and the following conversation
took place:
'I am the author of _Notre-Dame de Paris_, _Bug Jargal_, _Le Dernier
Jour dun Condamne_, _Marion Delorme_, etc.'
'I never heard of any of them.'
'Will you do me the honour of accepting a copy of my works?'
'I never read new books.'
The later relations of Hugo with the Academy are of considerable
interest. A generous forgetfulness of offence characterized him. When
Casimir Delavigne died, and it fell upon Hugo to deliver the funeral
oration over one who had been his enemy, he testified to the fine
talents of Delavigne, and magnanimously exclaimed: 'Let all the petty
jealousies that follow high renown, let all disputes of the conflicting
schools, let all the turmoil of party feeling and literary rivalry be
forgotten. Let them pass into the silence into which the departed poet
has gone to take his long repose!' In January, 1845, Hugo had to reply
to the speech of M. Saint Marc Girardin, and shortly afterwards--which
was a much more difficult and delicate matter--to the opening address
of M. Sainte-Beuve. In the early stage of the poet's career,
Sainte-Beuve, as we have seen, warmly hailed his advent, but he
afterwards became his enemy, turning his back upon all his old literary
beliefs. By way of covering his retreat, he advocated in the _Revue des
Deux Mondes_ a union between the classics and romanticists; and while he
did justice to every other writer whom he named, he arrested his praise
when he came to the name of Victor Hugo. He remarked that all signs of
magnificent promise were forgotten, 'as soon as we think of his numerous
stubborn relapses, or consider the way in which he holds to theories
which public opinion has already condemned. Sentiments of humanizing
art, which might easily enough be praised, are utterly ignored, and M.
Hugo clings with a steadfast persistence to his own peculiar style.' The
public were naturally curious to know how Hugo would speak of one who
had acted treacherously towards him, but with his usual high-minded
courtesy, the speaker uttered not one word of a personal character
against the man who had been so unjust towards himself.
The Academy had few members who were so regular in attendance, or were
so useful to that august body, as Victor Hugo. He brought into all his
relations with it the same energy and conscientiousness which marked his
course in connection with literature and the drama. His association with
the Academy was virtually the first stage of a new departure in his
career.