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The French Face of Nathaniel Hawthorne the French Face of Nathaniel Hawthorne Monsieur De L’Aubépine and His Second Empire Critics

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The French Face of Nathaniel Hawthorne the French Face of Nathaniel Hawthorne Monsieur De L’Aubépine and His Second Empire Critics The French Face of Nathaniel Hawthorne The French Face of Nathaniel Hawthorne Monsieur de l’Aubépine and His Second Empire Critics HIstoRICAL INTRODuctION AND TRANSLATIONS BY Michael Anesko AND N. Christine Brookes THE OHIO STATE UNIVERSITY PREss / COLUMBus Copyright © 2011 by The Ohio State University. All rights reserved. Library of Congress Cataloging-in-Publication Data Anesko, Michael. The French face of Nathaniel Hawthorne : Monsieur de l’Aubépine and his Second Empire critics / Historical introduction and translations by Michael Anesko and N. Christine Brookes. p. cm. Includes bibliographical references and index. ISBN 978-0-8142-1143-4 (cloth : alk. paper)—ISBN 978-0-8142-9246-4 (cd) 1. Hawthorne, Nathaniel, 1804–1864—Criticism and interpretation—19th century. 2. Hawthorne, Nathaniel, 1804–1864—Appreciation—France. I. Brookes, N. Christine, 1974– II. Title. PS1887.4.F7A54 2011 813'.3—dc22 2010036608 This book is available in the following editions: Cloth (ISBN 978-0-8142-1143-4) CD-ROM (ISBN 978-0-8142-9246-4) Cover design by Amelia Saul Text design by Juliet Williams Type set in Adobe Garamond Pro Printed by Thomson-Shore, Inc. The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials. ANSI Z39.48-1992. 9 8 7 6 5 4 3 2 1 This book is for Matt —in whose observant presence it was conceived— and for Christi’s parents —whose forethought made it possible. There is a reflex of negation, of rejection, at the very root of the French character: an instinctive recoil from the new, the untasted, the untested, like the retracting of an insect’s feelers at contact with an unfamiliar object; and no one can hope to understand the French without bearing in mind that his unquestioning respect for rules of which the meaning is forgotten acts as a perpetual necessary check to the idol-breaking instinct of the freest minds in the world. —Edith Wharton, French Ways and Their Meaning(1919) Contents Preface xi Acknowledgments xiii Editorial Note xv Part 1 Historical Introduction I. The Problem of Recovery 3 II. The Critical Foreground 7 III. The Critics: A Biographical Overview 13 IV. The French Face(s) of Nathaniel Hawthorne 21 V. The Critical Legacy 71 Part 2 Transatlantic Reflections: The French Reception of Nathaniel Hawthorne VI. Paul Émile-Daurand Forgues “American Poets and Novelists: Nathaniel Hawthorne” (1852) 99 VII. Émile Montégut “A Socialist Novel in America” (1852) 129 VIII. Louis Étienne “American Storytellers: Nathaniel Hawthorne” (1857) 164 x Contents IX. Émile Montégut “A Pessimistic Novelist in America” (1860) 196 X. Louis Étienne “The Transcendentalist Novel in America” (1860) 232 XI. Émile Montégut “Nathaniel Hawthorne” (1864) 256 Biographical Register 291 Works Cited 295 Index 303 Preface Quite unexpectedly, the idea for this book originated several years ago in an undergraduate honors seminar that I was teaching on Hawthorne and James. For the purpose of finding a suitable critical observation that might serve as the basis for an essay question on the students’ midterm examination, I was rereading James’s Hawthorne (for possibly the tenth time) and only then really noticed that he made repeated reference in his charming little study to an article by M. Émile Montégut, a writer for the Revue des Deux Mondes. Why, it suddenly struck me, did James feel compelled to address this critic? Who was he? What did he have to say about Hawthorne that provoked James to answer him? Why, after years of working on nineteenth-century American literature, had I not heard of Montégut or seen his work translated (particularly the essay to which James referred)? These were questions that compelled additional research. Trying to answer them led to the surprising discovery of not just one but six major essays in French that were written about Hawthorne during that writer’s lifetime. Montégut authored three of these; Paul Émile-Daurand Forgues had preceded him with one; and Louis Étienne wrote two more for journals that (importantly) rivaled the Revue for cultural prestige. Suddenly possessed of a considerable battery of unknown—or forgotten—criticism, I began the task of translation, in close and thankful cooperation with a flu- ent speaker, Professor N. Christine Brookes, the coauthor of this volume. The result has been the recuperation of a remarkable body of insights, work xi xii Preface that can help us better understand the complexity of transatlantic cultural exchange in the nineteenth century. Literary scholarship in our own time calls more and more for the enlargement of perspective and the necessity for adapting our reading practices to dismantle the narrower limits of nationalist traditions. Knowing exactly what others have said and made of us has to be an important first step in making that progressive change possible. In that spirit—and toward that end—we are proud to make available to English-speaking readers these six essays in criticism, revealing as they do the French face(s) of Nathaniel Hawthorne. Michael Anesko Acknowledgments Compiling a volume of this kind entails many forms of indebtedness upon its authors. Because so many of the sources upon which we have depended are housed overseas, the courtesy of the interlibrary loan staffs at both the Pennsylvania State and Central Michigan universities has been crucial to our work. Without their efficient help, our access to important research materials would have been much more difficult. We are thankful, too, for the cooperative willingness of both libraries directly to acquire relevant sources that could not be obtained otherwise. Professor Burkhart Küster (Universität Stuttgart) generously clarified some of Montégut’s more elliptical allusions for us; and the College of the Liberal Arts at Penn State has generously underwritten some of our expenses. Portions of this book (in modified form) have been published in schol- arly journals, and we are grateful to their editors for permission to reprint material that first appeared in their pages. Resources for American Literary Study has printed two of our translations: “A Socialist Novel in America” (under the title “Monsieur de l’Aubépine: The French Face of Nathaniel Hawthorne”), volume 31 (2007): 55–94; and “A Pessimistic Novelist in America” (under the title “Ancestral Footsteps: Montégut on Monte-Beni”), volume 32 (2008): 99–140. An important segment of “The Critical Leg- acy” appeared first in the Henry James Review (“Is James’s Hawthorne Really James’s Hawthorne?”), volume 29 (Winter 2008): 36–53. xiii Editorial Note Throughout the notes and body text, references to Hawthorne’s works are keyed to the Centenary Edition of the Works of Nathaniel Hawthorne, 23 vol- umes, edited by William Charvat, Thomas Woodson et al. (Columbus: The Ohio State University Press, 1962–97). The following abbreviations have been employed to simplify documentation: BR The Blithedale Romance HSG The House of the Seven Gables MF The Marble Faun MM Mosses from an Old Manse SI The Snow-Image; Uncollected Tales SL The Scarlet Letter TTT Twice-told Tales Where the critics translate Hawthorne, we have incorporated the corre- sponding excerpts from the Centenary texts. Passages appearing in square brackets were omitted in translation, but indicated there by ellipses; passages appearing in italics within square brackets were silently omitted. Incidental errors are enclosed in pointed brackets. Extended discussion of the critics’ occasional deviations from Hawthorne’s language is included in Part One, “Historical Introduction.” xv 1Historical Introduction TheI Problem of Recovery French appreciation of classic American literature is a subject about which we know relatively little. With the major exception of Edgar Allan Poe, who has always enjoyed “extravagant esteem” in France, the reception of other mid-nineteenth-century writers in that country remains undeservedly obscure.1 Overshadowed by the enthusiasm shown for Poe by a distinguished lineage of French poets—Baudelaire, Mallarmé, Valéry—still, even the more modest transatlantic careers of other writers can deepen our understanding of them by inviting us to revisit their works from perspectives foreign to ours. Fully to appreciate that reorientation, however, requires greater famil- iarity with French criticism, almost none of which (again, apart from that devoted to Poe) has benefited from English translation.2 Our purpose here, then, is really threefold: first, to make available to English readers the full texts of a number of contemporaneous French critical essays; second, to assess their significance in relation to their immediate historical context; and third, to examine their relevance to later critical trends and arguments. Most students of American literature probably can recall the playful French nom de plume of Nathaniel Hawthorne. But very few will know that Monsieur de l’Aubépine enjoyed a surprisingly intelligent critical reception in France during his lifetime. As soon as publishers in New York and Boston made a serious effort (beginning in the 1840s) to claim some share of the British market by arranging for authorized reprints of their books in the United Kingdom, works by American authors increasingly found their way 3 4 Part 1: Historical Introduction across the Channel and into the hands of serious literary journalists and intellectuals in France, an audience that was especially curious about the cultural manifestations of democracy. Tocqueville’s provocative interrogation of that subject—and the turbulent upheavals of 1848—gave an immediate historical relevance to American books, a situation dutifully recognized by the leading instruments and agents of literary criticism in that violence-torn nation. Larry J. Reynolds has convincingly shown how political unrest in Europe affected American literature at mid-century, but as yet no one has tried to come at this subject in fully reciprocal terms.3 Recovering even a portion of this criticism through translation can begin that useful task and help us to appreciate American literature from a more genuinely transatlan- tic perspective.
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