César Graña - Bohemian Versus Bourgeois: French Society and the French Man of Letters in the Nineteenth Century
There have not been many general studies of the vast problem of the alienation of the artist from society, although the theme has been endlessly commented on, in an unsystematic way, as one of the cultural commonplaces of the last century and a half. Colin Wilson's The Outsider was more of a stimulating rag-bag than an organized book; Albert Camus's L'homme révolté remains a major document, written by an artist who was trying to move convincingly from alienation to integration; Jean-Paul Sartre's Qu'est-ce que la littérature is full of interesting suggestions but, of course, contains no built-in explanation of its own strongly emotional assumptions. Dr. Graña has now come along to take a more coolly academic view, and he relates the whole question to the attitudes of certain French writers of the 19th century. He divides his book into three parts: “The Social World Of Modern French Letters,” which sketches in the political and social background of 19th-century France; “Three Literary Critics of Bourgeois Society”; and “The Heritage of Alienation: Productivity, Social Efficiency, and Intellectual Gloom.” His three major exemplars in the middle section are Stendhal, Baudelaire, and Flaubert; all three, although of bourgeois origin, were violent enemies of the “bourgeois,” and their different personalities had a tremendous effect on subsequent writers and artists. It was Stendhal who helped to make the artistic cult of the self enjoyable and who popularized in France the Shakespearean phrase “the happy few” to refer to those superior souls who really understand what the artist is doing; Baudelaire gave the prestige of sophistication to the Romantic idea of the uniqueness of the poet; Flaubert firmly placed the alienated artist's ideal in art, whether or not there was any public to appreciate that art.