Frédéric Mistral

Possibly no other three lines could express as well the whole spirit of the Félibrige.

Our subject being Mistral and not Félix Gras, a passing mention must suffice. One of his remarkable works is called Toloza, and recounts the crusade of the Albigenses, and his novel, The Reds of the Midi, first published in New York in the English translation of Mrs. Thomas A. Janvier, is probably the most remarkable prose work that has been written in Provençal.[4] Only the future can tell whether the Provençal will pass through a prose cycle after its poetic cycle, in the manner of all literatures. To many serious thinkers the attempt to create a complete literature seems of very doubtful success.

The problems, then, which confront the Félibres are numerous. Can they, with any assurance of permanence, maintain two literary languages in the same region? It is scarcely necessary to state, of course, that no one dreams of supplanting the French language anywhere on French soil. What attitude shall they assume toward the "patoisants," that is, those who insist on using the local dialect, and refuse to conform to the usage of the Félibres? Is it not useless, after all, to hope for a more perfect unification of the dialects of the langue d'oc, and, if unification is the aim, does not logical reasoning lead to the conclusion that the French language already exists, perfectly unified, and absolutely necessary? In the matter of politics, the most serious questions may arise if the desires of some find more general favor. Shall the Félibres aim at local self-government, at a confederation something like that of the Swiss cantons? Shall they advocate the idea of independent universities?

As a matter of fact, none of these problems are solved, and they will only be solved by the natural march of events. The attitude of the leaders toward all these differing views has become one of easy toleration. If the language of the Félibres tends already to dominate the other dialects, if its influence is already plainly felt far beyond Provence itself, this is due to the sheer superiority of their literary work. If their literature had the conventional character of that of the Troubadours, if it were addressed exclusively to a certain élite, then their language might have been adopted by the poets of other regions, just as in the days of the Troubadours the masters of the art of "trobar" preferred to use the Limousin dialect. But the popular character of the movement has prevented this. It has preached the love of the village, and each locality, as fast as the Felibrean idea gained ground, has shown greater affection for its own dialect.

Mistral's work has often been compared to Dante's. But Dante did not impose his language upon Italy by the sole superiority of his great poem. All sorts of events, political and social, contributed to the result, and there is little reason to expect the same future for the work of Mistral. This comparison is made from the linguistic point of view; it is not likely that any one will compare the two as poets. At most, it may be said that if Dante gave expression to the whole spirit of his age, Mistral has given complete expression to the spirit of his little patrie. Should the trend of events lead to a further unification of the dialects of southern France, there is no doubt that the Felibrean dialect has by far the greatest chance of success.

The people of Provence owe a great debt to the Félibres, who have endowed them with a literature that comes closer to their sympathies than the classic literature of France can ever come; they have been raised in their own esteem, and there has been undoubtedly a great awakening in their mental life. The Félibrige has given expression to all that is noblest and best in the race, and has invariably led onward and upward. Its mission has been one that commands respect and admiration, and the Félibres to-day are in a position to point with pride to the great work accomplished among their people. Arsène Darmesteter has well said:-

"A nation needs poetry; it lives not by bread alone, but in the ideal as well. Religious beliefs are weakening; and if the sense of poetic ideals dies along with the religious sentiment, there will remain nothing among the lower classes but material and brutal instincts.

"Whether the Félibres were conscious of this danger, or met this popular need instinctively, I cannot say. At any rate, their work is a good one and a wholesome one. There still circulates, down to the lowest stratum of the people, a stream of poetry, often obscure, until now looked upon with disdain by all except scholars. I mean folklore, beliefs, traditions, legends, and popular tales. Before this source of poetry could disappear completely, the Félibres had the happy idea of taking it up, giving it a new literary form, thus giving back to the people, clothed in the brilliant colors of poetry, the creation of the people themselves."

And again: "As for this general renovation of popular poetry, I would give it no other name than that of the Félibrige. To the Félibres is due the honor of the movement; it is their ardor and their faith that have developed and strengthened it."

CHAPTER III

THE MODERN PROVENÇAL LANGUAGE

The language of the Félibres is based upon the dialect spoken in the plain of Maillane, in and about the town of Saint-Rémy. This dialect is one of the numerous divisions of the langue d'oc, which Mistral claims is spoken by nearly twelve millions of people. The literary history of these patois has been written by B. Noulet, and shows that at the close of the terrible struggles of the Albigenses the language seemed dead. In 1324 seven poets attempted to found at Toulouse the competitions of the Gai Savoir, and so to revive the ancient poetry and the ancient language. Their attempt failed. There was literary production of varying degree of merit throughout two or three centuries; but until the time of Jasmin no writer attracted any attention beyond his immediate vicinity; and it is significant that the Félibres themselves were long in ignorance of Jasmin. It is then not difficult to demonstrate that the Félibrige revival bears more the character of a creation than of an evolution. It is not at all an evolution of the literature of the Troubadours; it is in no way like it. The language of the Félibres is not even the descendant of the special dialect that dominated as a literary language in the days of the Troubadours; for it was the speech of Limousin that formed the basis of that language, and only two of the greater poets among the Troubadours, Raimond de Vaqueiras and Fouquet de Marseille, were natives of Provence proper.

The dialect of Saint-Rémy is simply one of countless ramifications of the dialects descended from the Latin. Mistral and his associates have made their literary language out of this dialect as they found it, and not out of the language of the Troubadours. They have regularized the spelling, and have deliberately eliminated as far as possible words and forms that appeared to them to be due to French influence, substituting older and more genuine forms-forms that appeared more in accord with the genius of the langue d'oc as contrasted with the langue d'oil. Thus, glòri, istòri, paire, replace gloaro, istouèro, pèro, which are often heard among the people. This was the first step. The second step taken arose from the necessity of making this speech of the illiterate capable of elevated expression. Mistral claims to have used no word unknown to the people or unintelligible to them, with the exception that he has used freely of the stock of learned words common to the whole Romance family of languages. These words, too, he transforms more or less, keeping them in harmony with the forms peculiar to the langue d'oc. Hence, it is true that the language of the Félibres is a conventional, literary language, that does not represent exactly the speech of any section of France, and is related to the popular speech more or less as any official language is to the dialects that underlie it. As the Félibres themselves have received all their instruction and literary culture in the French language, they use it among themselves, and their prose especially shows the influence of the French to the extent that it may be said that the Provençal sentence, in prose, appears to be a word-for-word translation of an underlying French sentence.

Phonetically, the dialect offers certain marked differences when contrasted with French. First of all is the forceful utterance of the stressed syllable; the Provençal has post-tonic syllables, unlike the sister-speech. Here it may be said to occupy a sort of middle position between Italian and Spanish on the one hand, and French on the other; for in the former languages the accent is found in all parts of the word, in French practically only upon the final, and then it is generally weak, so that the notion of a stress is almost lost. The stress in Provençal is placed upon one of the last two syllables only, and only three vowels, e, i, o, may follow the tonic syllable. The language, therefore, has a cadence that affects the ear differently from the French, and that resembles more that of the Italian or Spanish languages.

The nasal vowels are again unlike those of the French language. The vowel affected by the following nasal consonant preserves its own...