The Nabob, Volume 1 | Page 8

may as well be admitted at once that these mere inventions are sometimes the least satisfactory part of his stories. The two young men in "The Nabob," for instance, whom Mr. Henry James found it difficult to tell apart, the sculptor-painter in the "Immortal," the occasional other characters which we discover to be made up, lack the individuality and the vitality of figures taken from real life by a sympathetic effort of interpretative imagination. Delobelle, Gardinois, "all the personages of 'Fromont' have lived," Daudet declares; and he adds a regret that in depicting old Gardinois he gave pain to one he loved, but he "could not suppress this type of egotist, aged and terrible."
Since the beginning of the art of story-telling, the narrators must have gone to actuality to get suggestions for their character-drawing; and nothing is commoner than the accusation that this or that novelist has stolen his characters ready-made,--filching them from nature's shop-window, without so much as a by-your-leave. Daudet is bold in committing these larcenies from life and frank in confessing them,--far franker than Dickens, who tried to squirm out of the charge that he had put Landor and Leigh Hunt unfairly into fiction. Perhaps Dickens was bolder than Daudet, if it is true that he drew Micawber from his own father, and Mrs. Nickleby from his own mother. Daudet was taxed with ingratitude that he had used as the model of Mora, the Duke de Morny, who had befriended him; and he defended himself by declaring that he thought the duke would find no fault with the way Mora had been presented. But a great artist has never copied his models slavishly; he has utilized them in the effort to realize to his own satisfaction what he has already imagined. Daudet maintained to his son that those who were without imagination cannot even observe accurately. Invention alone, mere invention, an inferior form of mental exercise, suffices to provide a pretty fair romantic tale, remote from the facts of every-day life, but only true imagination can sustain a realistic novel where every reader's experience qualifies him to check off the author's progress, step by step.
IV.
It would take too long--although the task would be amusing--to call the roll of Daudet's novels written after "Fromont and Risler" had revealed to him his own powers, and to discuss what fact of Parisian history had been the starting point of each of them and what notabilities of Paris had sat for each of the chief characters. Mr. Henry James, for instance, has seen it suggested that F��licia Ruys is intended as a portrait of Mme. Sarah-Bernhardt; M. Zola, on the other hand, denies that F��licia Ruys is Mme. Sarah-Bernhardt and hints that she is rather Mme. Judith Gautier. Daudet himself refers to the equally absurd report that Gambetta was the original of Numa Roumestan,--a report over which the alleged subject and the real author laughed together. Daudet's own attitude toward his creations is a little ambiguous or at least a little inconsistent; in one paper he asserts that every character of his has had a living original, and in another he admits that Elys��e M��raut, for example, is only in part a certain Th��rion.
The admission is more nearly exact than the assertion. Every novelist whose work is to endure even for a generation must draw from life, sometimes generalizing broadly and sometimes keeping close to the single individual, but always free to modify the mere fact as he may have observed it to conform with the larger truth of the fable he shall devise. Most story-tellers tend to generalize, and their fictions lack the sharpness of outline we find in nature. Daudet prefers to retain as much of the actual individual as he dares without endangering the web of his composition; and often the transformation is very slight,--Mora, for instance, who is probably a close copy of Morny, but who stands on his own feet in "The Nabob," and lives his own life as independently as though he was a sheer imagination. More rarely the result is not so satisfactory; J. Tom L��vis, for example, for whose authenticity the author vouches, but who seems out of place in "Kings in Exile," like a fantastic invention, such as Balzac sometimes permitted himself as a relief from his rigorous realism.
For incident as well as for character Daudet goes to real life. The escape of Colette from under the eyes of her father-in-law,--that actually happened; but none the less does it fit into "Kings in Exile." And Colette's cutting off her hair in grief at her husband's death,--that actually happened also; but it belongs artistically in the "Immortal." On the other hand, the fact which served as the foundation of the "Immortal"--the taking in of a savant by a lot of forged manuscripts--has been