Sentimental Education; Or, The History of a Young Man. Volume 1. Gustave Flaubert
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Pellerin, in a tone of vexation, as if he had been the producer of this work himself, observed by way of answer that every opinion had some value. Sénécal protested: Art should aim exclusively at promoting morality amongst the masses! The only subjects that ought to be reproduced were those which impelled people to virtuous actions; all others were injurious.
"But that depends on the execution," cried Pellerin. "I might produce masterpieces."
"So much the worse for you, then; you have no right – "
"What?"
"No, monsieur, you have no right to excite my interest in matters of which I disapprove. What need have we of laborious trifles, from which it is impossible to derive any benefit – those Venuses, for instance, with all your landscapes? I see there no instruction for the people! Show us rather their miseries! arouse enthusiasm in us for their sacrifices! Ah, my God! there is no lack of subjects – the farm, the workshop – "
Pellerin stammered forth his indignation at this, and, imagining that he had found an argument:
"Molière, do you accept him?"
"Certainly!" said Sénécal. "I admire him as the precursor of the French Revolution."
"Ha! the Revolution! What art! Never was there a more pitiable epoch!"
"None greater, Monsieur!"
Pellerin folded his arms, and looking at him straight in the face:
"You have the appearance of a famous member of the National Guard!"
His opponent, accustomed to discussions, responded:
"I am not, and I detest it just as much as you. But with such principles we corrupt the crowd. This sort of thing, however, is profitable to the Government. It would not be so powerful but for the complicity of a lot of rogues of that sort."
The painter took up the defence of the picture-dealer, for Sénécal's opinions exasperated him. He even went so far as to maintain that Arnoux was really a man with a heart of gold, devoted to his friends, deeply attached to his wife.
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