Clearly, there are no certainties offered here. And yet this work communicates courage and a strange faith. To wager, as Antoine does, over and above doubts and disasters, on the human adventure, amounts in the end to praising life, which is terrible and irreplaceable. The Thibault family’s fierce attachment to life is the very force that inspires the whole work. Father Thibault dying takes on an exemplary quality; he refuses to disappear, comes unexpectedly to life again, lunges at the enemy, struggles physically against death, bringing nurses and relatives into the fray.
Inevitably, we are reminded of the Karamazovs’ love of life and pleasure, of Dimitri’s despairing remark, “I love life too much. It’s even disgusting.” But life is not polite, as Dimitri is well aware. In this great struggle to escape by any and every means from annihilation lies the truth of history and its progress, of the mind and all its works.
Here indeed is one of those works conceived in the refusal to despair. This refusal, this inconsolable attachment to men and the world, explains the roughness and the tenderness of Martin du Gard’s books. Squat, heavy with the weight of flesh in ecstasy and humiliation, they are still sticky with the life that has given them birth. But, at the same time, a vast indulgence runs through all their cruelties, transfiguring and alleviating them.
“A human life,” writes Antoine, “is always broader than we realize.” However low and evil it may be, a life always holds in some hidden corner enough qualities for us to understand and forgive. There is not one of the characters in this great fresco, not even the hypocritical Christian bourgeois who is painted for us in the darkest colors, who goes without his moment of grace. Perhaps, in Martin du Gard’s eyes, the only guilty person is the one who refuses life or condemns people.
The key words, the final secrets, are not in man’s possession. But man nevertheless keeps the power to judge and to absolve. Here lies the profound secret of art, which always makes it useless as propaganda or hatred, and which, for example, prevents Martin du Gard from depicting a young follower of Maurras except with sympathy and generosity. Like any authentic creator, Martin du Gard forgives all his characters. The true artist, although his life may consist mostly of struggles, has no enemy.
The final word that can be said about this work thus remains the one that it has been difficult to use about a writer since the death of Tolstoi: goodness. Even then I must make it clear that I am not talking about the screen of goodness that hides false artists from the eyes of the world while at the same time hiding the world from them.
Martin du Gard himself has defined a certain type of bourgeois virtue as the absence of the energy necessary to do evil. What we are concerned with here is a particularly lucid virtue, which absolves the good man because of his weaknesses, the evil man because of his generous impulses, and both of them together because of their passionate membership in a human race that hopes and suffers.
Thus Jacques, returning home after long years of absence, and having to help lift up his dying father, finds himself overwhelmed by the contact with this enormous body, which in his eyes had formerly symbolized oppression: “And suddenly the contact with this moistness so overwhelmed him that he felt something totally unexpected—a physical emotion, a raw sentiment which went far beyond pity or affection: the selfish tenderness of man for man.” Such a passage marks the true measure of an art that seeks no separation from anything, that overcomes the contradictions of a man or a historical period through the obscure acceptance of anonymity. The community of suffering, struggle, and death exists; it alone lays the foundation of the
hope for a community of joy and reconciliation.
He who accepts membership in the first community finds in it a nobility, a faithfulness, a reason for accepting his doubts; and if he is an artist he finds the deep wellsprings of his art. Here man learns, in one confused and unhappy moment, that it is not true he must die alone. All men die when he dies, and with the same violence. How, then, can he cut himself off from a single one of them, how can he ever refuse him that higher life, which the artist can restore through forgiveness and man can restore through justice. This is the secret of the relevance to our times I spoke of earlier.
It is the only worthwhile relevance, a timeless one, and it makes Martin du Gard, a just and forgiving man, our perpetual contemporary. Preface to the Pléiade edition of the complete works of Martin du Gard, published in 1955.
1 Roger Martin du Gard was born in Paris in 1881 and died in 1958. He was trained as a historian and archivist, and his first really important novel, Jean Barois, uses some of the techniques of the professional historian for literary purposes. Published in 1913, it tells the story of a man who is led by the discoveries of nineteenth-century science to abandon the Catholic faith in which he has been educated. He founds a rationalist review called Le Semeur, which has similarities to Péguy’s Cahiers de la Quinzaine, and plays an active part in the campaign to establish the innocence of Captain Dreyfus. He is highly successful in his professional career, but nevertheless conscious of how easily he can relapse into the acceptance of Christian belief. One day, for example, when he has just delivered a lecture on The Future of Disbelief, his cab is almost involved in an accident, and he finds himself reciting the
Hail Mary. This incident makes him realize the danger that he may, in old age, return to the religion of his childhood, and he therefore composes a “Last Will and Testament” in which he declares his complete lack of belief and states that any future relapse into religion is to be explained solely by old age and the fear of death. As he grows older, he does in fact accept Catholicism again, and dies a believer. On discovering his will, his pious wife, encouraged by a priest, burns this evidence of her husband’s intended fidelity to free thought.
Martin du Gard’s major work, however, and the one for which he was awarded the Nobel Prize for Literature in 1937, is the long novel Les Thibault. This began appearing in 1922, and was completed by the publication of the Epilogue in 1940. It describes the life of two brothers, Jacques and Antoine Thibault, during the years immediately before the First World War. Jacques, the rebel, is some ten years younger than his more stable brother Antoine, and appears to be the more interesting character. In particular, his love affair with Jenny de Fontanin, sister of his close friend Daniel, occupies a good deal of the first two volumes. However, Antoine takes on more importance in the La Belle Saison and La Mort du Père, and represents a theme to which Camus himself devotes much attention: the impossibility of explaining, within a religious context, the purely physical suffering that afflicts men, children, and animals alike. Like Dr. Rieux in The Plague, Antoine is extremely conscious of the interminable defeat that death inflicts upon a doctor, and he administers to his father, who is dying in agony, the injection that he knows will kill him.
Originally Martin du Gard had intended to continue the adventures of Jacques and Antoine in a whole series of novels describing their life in the Paris of the 1920’s. However, on January
1, 1931, he was involved in a serious car accident, and had to spend a long time in bed. There, meditating on his work, he came to realize that the 1914–18 war had so completely destroyed the world in which Jacques and Antoine had lived that he could not carry on with their story as if nothing had happened. He consequently destroyed the part of the novel that he had already written but not yet published, and composed L’Eté 1914, a two-volume account of the outbreak of the First World War. Jacques, a socialist and fervent pacifist, is killed in an attempt to throw leaflets from an airplane onto the French and German armies as they advance to battle. Antoine is gassed, and eventually kills himself when he realizes that he will never recover.
The Epilogue is made up of his diary, and ends with two notations: “Easier than you think” and “Jean-Paul.” Dying, he thinks of the son born to Jacques and Jenny, and of the physical survival of humanity and the family that this son represents. There are a number of analogies between Martin du Gard and Camus that help to explain the long preface Camus wrote to his collected works in 1954. Both were socialists, but were opposed to extremist forms of political thought. Both were agnostics, preoccupied with the problems of death and physical suffering. As artists, both strove to be impersonal, and to write books in which their own personality would not be immediately visible.
Yet while Martin du Gard
