“The individual named George Sand is well:  he is enjoying the marvellous winter which reigns in Berry, gathering flowers, noting interesting botanical anomalies, making dresses and mantles for his daughter-in-law, costumes for the marionettes, cutting out scenery, dressing dolls, reading music, but above all spending hours with the little Aurore, who is a marvellous child.  There is not a more tranquil or a happier individual in his domestic life than this old troubadour retired from business, who sings from time to time his little song to the moon, without caring much whether he sings well or ill, provided he sings the motif that runs in his head, and who, the rest of the time, idles deliciously....  This pale character has the great pleasure of loving you with all his heart, and of not passing a day without thinking of the other old troubadour, confined in his solitude of a frenzied artist, disdainful of all the pleasures of the world.”

Flaubert did “exercise” a little—­once or twice—­in compliance with the injunctions of his “dear master”; but he rather resented the implication that his pessimism was personal, that it had any particular connection with his peculiar temperament or habits.  He wished to think of himself as a stoic, quite indifferent about his “carcase.”  His briefer black moods he might acknowledge had transitory causes.  But his general and abiding conceptions of humanity were the result of dispassionate reflections.  “You think,” he cries in half-sportive pique, “that because I pass my life trying to make harmonious phrases, in avoiding assonances, that I too have not my little judgments on the things of this world?  Alas!  Yes! and moreover I shall burst, enraged at not expressing them.”  And later:  “Yes, I am susceptible to disinterested angers, and I love you all the more for loving me for that.  Stupidity and injustice make me roar,—­and I howl in my corner against a lot of things ’that do not concern me.’” “On the day that I am no longer in a rage, I shall fall flat as the marionette from which one withdraws the support of the stick.”

So far as Flaubert’s pessimism has an intellectual basis, it rests upon his researches in human history.  For Salammbo and The Temptation of St. Anthony he ransacked ancient literature, devoured religions and mythologies, and saturated himself in the works of the Church Fathers.  In order to get up the background of his Education Sentimentale he studied the Revolution of 1848 and its roots in the Revolution of 1789.  He found, shall we say? what he was looking for--inexhaustible proofs of the cruelty and stupidity of men.  After “gulping” down the six volumes of Buchez and Roux, he declares:  “The clearest thing I got out of them is an immense disgust for the French....  Not a liberal idea which has not been unpopular, not a just thing that has not caused scandal, not a great man who has not been mobbed or knifed.  ’The history of the human mind is the history of human