Le Jardin de Berenice

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Letters of Arnold Bennett
http://eured.univ-lemans.fr/dbworkshop/index.php/Detail/objects/63793
Accessed on 2020/08/08 17:02:05

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            <forename>Maurice</forename>
            <surname>Barres</surname>
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        <title>Le Jardin de Berenice</title>
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                <forename>Arnold</forename>
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            <title>Letters of Arnold Bennett</title>
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              <publisher>James Hepburn</publisher>
              <pubPlace>London: Oxford University Press</pubPlace>
              <date>1968</date>
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          <persName>
            <forename>Margaret</forename>
            <surname>Thomas</surname>
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          <email>thomas49@waitrose.com</email>
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        <date from="1891-09-01" to="1893-05-24">Sep 1 1891 - May 24 1893</date>
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        <reader>
          <persName>
            <forename>Arnold</forename>
            <surname>Bennett</surname>
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          <sex>M</sex>
          <age>Adult (18-100+)</age>
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          <birth>1867-05-27</birth>
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          <country>England</country>
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          <note>editor's note: The article by Edward Delille on Maurice Barres (1862-1923) appeared in the 'Fortnightly' on 1 September 1891.</note>
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      <div type="volume" n="II">
        <div type="chapter" label="Letter from Bennett to George Sturt from 6 Victoria Grove, Chelsea, London dated 24.v.93">
          <div type="page" n="7">
            <p>
              <ptr target="ukred-12291">"Thanks for your letter &amp; the book.  A word in reference to the former.  
	I can?t boast that I discovered what purports to be the ""central idea"" of the novel for myself.  I first heard of Barr?s in an article bY Edward Delille in the ""Fortnightly.""  Next I read a criticism of this very book in the latest volume issued of Anatole France?s ""La Vie Litteraire"".  Lastly there was a rather striking article in a recent ""Scribner"" on new ideas in French Literature generally in which the name of Barr?s was prominent.
	So when I actually bought the book I knew just what to expect. 
 As I understand the thing, the author is at direct variance with Flaubert, Zola &amp; Guy de Maupassant, who at all costs aim at an impartial, impersonal presentment of life.  He prefers to take a character &amp; describe events and men solely in relation to their effect on that character.  In a word his novel is all hero.  He cares nothing for absolute perspective.  He interests himself in nothing but what affects his hero.  Everything is described through the hero?s eyes, &amp; consequently everything is intentionally coloured &amp; distorted.  He utterly despises the ""one-eyed apathetic insight of the camera"". 
You mention his symbolism.  I believe that the presence of numerous symbols &amp; analogies in the actual writing is only a minor &amp; unimportant manifestation of the symbolist theory.  The whole book in its main outlines is a congeries of symbols. . . "
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