This etext was produced by David Widger <widger@cecomet.net>
[NOTE: There is a short list of bookmarks, or pointers, at the end of thefile for those who may wish to sample the author's ideas before making anentire meal of them. D.W.]
By CHARLES DE BERNARD
With a Preface by JULES CLARETIE, of the French Academy
PIERRE-MARIE-CHARLES DE BERNARD DU GRAIL DE LA VILLETTE, better known bythe name of Charles de Bernard, was born in Besancon, February 24, 1804.He came from a very ancient family of the Vivarais, was educated at thecollege of his native city, and studied for the law in Dijon and atParis. He was awarded a prize by the 'Jeux floraux' for hisdithyrambics, 'Une fete de Neron' in 1829. This first success inliterature did not prevent him aspiring to the Magistrature, when theRevolution of 1830 broke out and induced him to enter politics. Hebecame one of the founders of the 'Gazette de Franche-Comte' and anarticle in the pages of this journal about 'Peau de chagrin' earned himthe thanks and the friendship of Balzac.
The latter induced him to take up his domicile in Paris and initiated himinto the art of novel-writing. Bernard had published a volume of odes:'Plus Deuil que Joie' (1838), which was not much noticed, but a series ofstories in the same year gained him the reputation of a genial 'conteur'.They were collected under the title 'Le Noeud Gordien', and one of thetales, 'Une Aventure du Magistrat, was adapted by Sardou for his comedy'Pommes du voisin'. 'Gerfaut', his greatest work, crowned by theAcademy, appeared also in 1838, then followed 'Le Paravent', anothercollection of novels (1839); 'Les Ailes d'Icare (1840); La Peau du Lionand La Chasse aux Amants (1841); L'Ecueil (1842); Un Beau-pere (1845);and finally Le Gentilhomme campagnard,' in 1847. Bernard died, onlyforty-eight years old, March 6, 1850.
Charles de Bernard was a realist, a pupil of Balzac. He surpasses hismaster, nevertheless, in energy and limpidity of composition. His styleis elegant and cultured. His genius is most fully represented in a scoreor so of delightful tales rarely exceeding some sixty or seventy pages inlength, but perfect in proportion, full of invention and originality, andsaturated with the purest and pleasantest essence of the spirit which forsix centuries in tableaux, farces, tales in prose and verse, comedies andcorrespondence, made French literature the delight and recreation ofEurope. 'Gerfaut' is considered De Bernard's greatest work. The plotturns on an attachment between a married woman and the hero of the story.The book has nothing that can justly offend, the incomparable sketches ofMarillac and Mademoiselle de Corandeuil are admirable; Gerfaut andBergenheim possess pronounced originality, and the author is, so tospeak, incarnated with the hero of his romance.
The most uncritical reader can not fail to notice the success with whichCharles de Bernard introduces people of rank and breeding into hisstories. Whether or not he drew from nature, his portraits of this kindare exquisitely natural and easy. It is sufficient to say that he is theliterary Sir Joshua Reynolds of the post-revolution vicomtes andmarquises. We can see that his portraits are faithful; we must feel thatthey are at the same time charming. Bernard is an amiable and spirited'conteur' who excels in producing an animated spectacle for a refined andselected public, whether he paints the ridiculousness or the misery ofhumanity.
The works of Charles de Bernard in wit and urbanity, and in the pecu