right, all human history is there; you may show it by painting on broad canvas a Carthaginian battle scene or by photographing the details of a modern bedroom: a brief brightness, night, and the odor of carrion, a crucified lion, a dying woman, the jeering of ribald mercenaries, the cackle of M. Homais. It is all one. If Flaubert deserved prosecution, it was not for making vice attractive, but for expressing with invasive energy that personal and desperately pessimistic conception of life by which he was almost overwhelmed.
That a bad physical regimen, bad habits of work in excessive quantities, and the solitude of his existence were contributory to Flaubert's melancholy, his exacerbated egotism, and his pessimism is sufficiently obvious in the letters. This Norman giant with his aching head buried all day long in his arms, groping in anguish for a phrase, has naturally a kindly disposition towards various individuals of his species—is even capable of great generosity; but as he admits with a truth and pathos, deeply appealing to the maternal sympathies of his correspondent, he has no talent for living. He has never been able, like richer and more resourceful souls, to reconcile being an author with being a man. He has made his choice; he has renounced the cheerful sanities of the world:
