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To Willemien Van Gogh. Paris, Late October 1887

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To Willemien Van Gogh. Paris, Late October 1887 To Willemien van Gogh. Paris, late October 1887. late October 1887 Metadata Source status: Original manuscript Location: Amsterdam, Van Gogh Museum, inv. no. b701 a-b V/1962 Date: Willemien had written to Vincent saying that she thought Theo looked very poorly that summer. This must have been prompted by his visit in July 1887 (see letter 571). There are references to this summer and to Theo, who was now (that is to say, after the disappointments he had met with in the Netherlands) doing reasonably well again, which would seem to imply that some time has elapsed since their meeting. Vincents remark when I painted landscape in Asnires this summer (l. 170) also points in this direction. On 14 November 1887 Margreet Meyboom wrote to Willemien, who had sent her the present letter to read (letter in private collection). It is not clear from this letter from Willemiens friend how long she had had Van Goghs letter by then; we do know, though, that after the letter she had also received a postcard from Willemien before she replied to both communications on 14 November. Equally it is impossible to determine how long Willemien had had Vincents letter before she sent it on to Margreet. None of this provides us with any concrete information for dating the letter aside from a terminus ante quem. However, taking into account the fact that Margreet and Willemien corresponded regularly and assuming that, because of her admiration and enthusiasm, Willemien would have sent her brothers letter on quite soon after she received it, we assume that the letter dates from late October 1887. Additional: Original [1r:1] Mijn beste zusje, ik dank U wel voor uw schrijven maar ik voor mij heb tegenwoordig zoo t land aan schrijven, echter zijn er vragen in uw brief waarop ik wel eens antwoorden wil. ik moet beginnen met U tegen te spreken waar gij zegt dat gij vondt dat Theo er dezen zomer zoo ellendig uitzag. Ik voor mij vind dat Theos voorkomen in t laatste jaar integen deel heel veel gewonnen heeft in distinctie. Men moet sterk zijn om zooals hij het leven in Parijs zooveel jaren uit te houden. Maar kan t niet wezen dat de familie en vrienden van Theo in Amsterdam en den Haag hem niet hebben behandeld 1 2 To Willemien van Gogh. Paris, late October 1887. en zelfs niet ontvangen met die hartelijkheid die hij van hen verdiende en waarop hij regt had. Ik kan U dienaangaande zeggen dat hij misschien hierover wat leed had maar hij trekt er zich verder niets van aan en hij doet tegenwoordig waar het in de schilderijen zoo slechte tijden zijn toch zaken, en kan er bij zijn hollandsche vrienden niet wat jalousie de metier bij komen. Wat zal ik U nu zeggen over uw stukje van de planten & den regen. Ge zelf ziet in de natuur dat menige bloem wordt vertrapt, bevriest of wordt verschroeid, overigens dat niet iedere korenkorrel na gerijpt te zijn in de aarde weer teregt komt om er te kiemen & een halm te worden maar verreweg de meeste korrels komen niet tot hun ontwikkeling doch gaan naar den molen niet waar. De menschen nu vergelijkende met de graankorrels In ieder mensch die gezond en natuurlijk is zit als in een graankorrel kiemkracht . En het natuurlijk leven is dus kiemen . Wat de kiemkracht in het graan is, is de liefde in ons. Nu staan wij, vind ik, met een langen neus te kijken of met een mond vol tanden als wij, gedwarsboomd zijnde in onze natuurlijke ontwikkeling, dat kiemen verijdeld zien en ons zelf geplaatst in omstandigheden zoo hopeloos als t voor t graan moet wezen tusschen de molensteenen. Als het ons zoo gaat en wij ten eenemale verbijsterd zijn door t verlies van ons natuurlijk leven, zijn er enkelen onder ons die, wenschende zich te onderwerpen aan den loop der dingen zoo als die eenmaal is, hun zelfbewustzijn echter niet loslaten en wenschen [1v:2] te weten hoe t met hen gaat en wat er eigentlijk gebeurt. En met goeden wil zoekende in de boeken waarvan gezegd wordt dat zij licht zijn in de duisternis, 1 vinden we met den besten wil van de wereld al heel bitter weinig zekers en om ons persoonlijk te troosten niet altijd satisfactie. En de ziekten waaraan wij beschaafde lui t meest laboreeren zijn melancolie en pessimisme. Zoo b.v. ik die zooveel jaren tel in mijn leven dat de lust tot lagchen me ten eenemale verging, of dit door mijn eigen schuld zij of niet ter zijde stellende, ik b.v. heb vooral behoefte om eens goed door te lagchen. Dat vond ik in Guy de Maupassant en er zijn er wel meer hier, onder de oude schrijvers Rabelais, 2 onder de tegenwoordige Henri Rochefort, 4 waar men dat in 1 Biblical. 2 Franois Rabelais3, famous for his entertaining books Gargantua (1535) and Pantagruel (1533). In his note to the Reader in Gargantua Rabelais writes that he is not presenting any scholarly or literary feats, but a healthy dose of humour, for laughter is peculiar to man (rire est le propre de lhomme). See Franois Rabelais, Les oeuvres romanesques. Ed. Franoise Joukovsky. Paris 1999, p. 5. 4 Victor Henri Marquis de Rochefort-Luay5 wrote satirical articles. His groundbreaking style and controversial ideas led to his dismissal from Le Figaro. In 1868 he founded his own periodical La Lanterne, followed by La Marseillaise (1870), Le Mot dordre (1871) and LIntransigeant (1880). To Willemien van Gogh. Paris, late October 1887. 3 vinden kan Voltaire in Candide . 6 Integendeel indien men waarheid wil, het leven zooals het is, b.v. de Goncourt in Germinie Lacerteux, 8 la fille Elisa, 10 Zola in La joie de vivre12 en lassommoir14 en zooveel andere meesterwerken, schilderen t leven z als we t zelf voelen en voldoen dus aan die behoefte die we hebben, dat men ons waarheid spreke. Het werk van de fransche naturalisten Zola, Flaubert, Guy de Maupassant, de Goncourt, Richepin, Daudet, Huysmans is prachtig en men kan ter naauwernood gezegd worden tot zijn tijd te hooren als men er geen kennis van heeft genomen. Het meesterwerk van Maupassant is Bel ami, ik hoop het U te kunnen bezorgen.16 Hebben wij genoeg aan den Bijbel. tegenwoordig zou geloof ik Jezus zelf weer zeggen tot hen die melankoliek neerzitten, t is hier niet , t is opgestaan. Wat zoekt ge den levende bij de dooden. 20 Indien t gesproken of geschreven woord licht der wereld21 blijve, zoo is het ons regt en onzen pligt te erkennen dat we leven in een tijd waarin z geschreven, z gesproken 6 See for Voltaire7s Candide : letter 568, n. 3. 8 Edmond and Jules de Goncourt9s novel Germinie Lacerteux (1864) tells the story of the servant girl Germinie Lacerteux, who gets herself into debt and commits crimes for the man she loves, the swindler and blackmailer Jupillon. Eventually she succumbs to misery. Until her death she manages to conceal her double life from her employer Madame de Varandeuil who, when she discovers the truth about Germinies wretched life, arranges her funeral. In the famous preface, the authors say that henceforth they regard the novel as a study (tude), as a social investigation (enqute sociale); it is a plea for what became known as naturalism not long afterwards. 10 In La fille Elisa (1877) Edmond de Goncourt11 narrates the tale of Elisa, a girl who has to support herself by prostitution. When she is raped by her lover, she stabs him to death and is sentenced to life imprisonment. Goncourt gives a minutely detailed description of life in prison and the novel is an indictment of an inhuman system of punishment: the governor uses a method of silence therapy, and as a result Elisa loses her mind, suffers delusions and dies. 12 Emile Zola13s novel La joie de vivre (1884) focuses on the tragic life of Pauline Quenu. A chronicle of Paulines girlhood, puberty, and young womanhood, Zolas narrative recounts in great detail her sexual awakening and emo- tional maturation, especially through her relationship with her neer-do-well cousin Lazare. The relationship fails and Pauline becomes the nursemaid in Lazares family. Despite her painful position and her lack of love, she is resigned to her isolation, full of self-sacrifice and servitude. When, at the novels close, the familys long-time servant hangs herself in despair, Pauline is nonplussed, unable to imagine why anyone would willingly relinquish the joys of life. Zola also describes the thwarted artistic ambitions of the pianist Lazare, who impotently accedes to what society requires of him. See also Sund 1992, pp. 109-113 (quotations on p. 112). Van Gogh had access to a copy in October 1885 possibly even as early as April: he depicted it in Still life with Bible (F 117 / JH 946) and may have alluded to it in letter 492. 14 See for Zola15s Lassommoir : letter 338, n. 12. 16 From remarks in the correspondence and in the light of comments made by other people it appears that Van Gogh liked the work of Joris-Karl Huysmans17. As well as the books mentioned here En mnage (1881) and A vau- leau (1882) he may have been familiar with Croquis parisiens (1880). Cf. Sund, 1992, p. 144. Emile Bernard18 mentioned A rebours (1884) in his In memoriam of Van Gogh: Huysmans had an inordinate attraction for him. It was En mnage in particular that he enthused over, then, later, A rebours. (Huysmans le captait outre mesure. Ce fut En mnage quil sexalta surtout, puis sur A rebours, plus tard.) See Les Hommes dAujourdhui 1891, no.
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