Mayer André Marcel Schwob, known as Marcel Schwob (23 August 1867 – 26 February 1905), was a French symbolist writer best known for his short stories and his literary influence on authors such as Jorge Luis Borges,[1]Alfonso Reyes, Roberto Bolaño[2] and Patricio Pron. He has been called a "precursor of Surrealism".[3] In addition to over a hundred short stories, he wrote journalistic articles, essays, biographies, literary reviews and analysis, translations and plays. He was extremely well known and respected during his life and notably befriended a great number of intellectuals and artists of the time.
He was born in Chaville, Hauts-de-Seine on 23 August 1867 into a cultivated Jewish family. His father, George Schwob, was a friend of Théodore de Banville and Théophile Gautier.[1]: 2 His mother, Mathilde Cahun, came from a family of intellectuals from Alsace. He was the brother of Maurice Schwob and uncle of Claude Cahun (born Lucy Schwob).
His family had just returned from Egypt, where his father had headed the cabinet of the Ministry of Foreign Affairs for ten years. When the French Third Republic began, the Schwob family lived in Tours, where George became the director of the newspaper Le Républicain d'Indre-et-Loire. In 1876, he moved to Nantes to direct the Republican daily Le Phare de la Loire; after he died in 1892, his eldest son Maurice, born in 1859, took his place.
At age 11 he discovered the work of Edgar Allan Poe translated by Charles Baudelaire. He then read the original versions of his tales in English and they proved to be a lifelong influence in his writing.[1]: 3 In 1878–79, he studied at the Lycée of Nantes where he won the 1st Prize for Excellence. In 1881, he was sent to Paris to live with his maternal uncle Léon Cahun, Chief Librarian of the Mazarine Library,[4]: 33 and continue his studies at the Lycée Louis-le-Grand, where he became friends with Léon Daudet and Paul Claudel.[1]: 3 He developed a gift for languages and quickly became multilingual. In 1884, he discovered Robert Louis Stevenson, who was to become one of his friends and role models. He studied philology and Sanscrit under Ferdinand de Saussure at the École pratique des hautes études in 1883–84.[5] He then completed his military service in Vannes, joining the artillery.
He failed his entrance exams for the École normale supérieure,[1]: 3 but he earned a Bachelor of Arts in 1888. He became a professional journalist, collaborating in the Phare de la Loire, the Événement and L'Écho de Paris.
He had a passion for French slang, and in particular for the language of the Coquillards used by Villon in his Ballads in Jargon: unlike the widespread opinion at the time (developed by Victor HugoinLes Misérables), Schwob considered that slang is not a language that is created spontaneously, but that it is actually an artificial language in code.
For eight years he wrote short stories that were collected in six books: Cœur double ("Double Heart", 1891), Le roi au masque d'or ("The King in the Golden Mask", 1892), Mimes (1893), Le livre de Monelle ("The Book of Monelle", 1894), La croisade des enfants ("The Children's Crusade", 1896) and Vies imaginaires ("Imaginary Lives", 1896). His last short story,『L'étoile de bois,』is the longest one he wrote and was published in 1897. Two large reprint collections of his stories were published during his lifetime: La porte des rêves (The Gate of Dreams, 1899), illustrated by Georges de Feure, and La lampe de Psyché (Psyche's Lamp, 1903).
Along with Stuart Merrill, Adolphe Retté and Pierre Louÿs, Marcel Schwob worked on Oscar Wilde's play Salome, which was written in French to avoid a British law forbidding the depiction of Bible characters on stage. Wilde struggled with his French, and the play was proofread and corrected by Marcel Schwob for its first performance in Paris in 1896.
In the last eight years of his life Schwob was often too sick to work, but he managed to complete a number of projects, although with the exception of the play Jane Shore,[6] and "Dialogues d'Utopie" (written in 1905), he never wrote any more original fiction. He did write articles, introductions and essays, adapted and translated several plays, and planned or began numerous projects that remained unfinished when he died.
Interior cover of the comics anthology Lapin, issue 16 (July 1997), featuring a portrait of Schwob by Emmanuel Guibert.
Ting Tse-Ying was a young Chinese scholar from Saint-Louis, Senegal, fluent in English, whom Schwob had met at the Chinese pavilion at the closing of Paris's Exposition Universelle and hired as a domestic servant, personal assistant and travelling companion. Ting later worked for explorer Paul Pelliot, whom he accompanied to Turkestan.[7]: 42
In 1901, assisted by Ting, he travelled first to Jersey, where he stayed for several weeks, and then to Uriage, trying to improve his health. He then began the biggest voyage of his life, traveling to Samoa, like his hero Stevenson, in search of his tomb. Leaving from Marseilles, he stopped in Port Said, Djibouti, Aden, toured Sri Lanka, Sydney and finally Vailima, where Stevenson had lived. There, he met people who had known Stevenson. He stayed for a little less than a month. He became very sick in the island, lost a lot of weight and was forced to return to Paris in a hurry without having visited the tomb. Because of regional racism, Ting was arrested on several occasions and prevented from accompanying Schwob in some parts of the trip. Schwob complained about this in his letters to Moreno.[4]: 270–5
In 1904, at the invitation of Francis Marion Crawford and accompanied by Ting, he took a boat trip to Naples, stopping in Porto, Lisbon, Barcelona, Marseille and finally Naples. He stayed for two weeks in Crawford's villa in Sant'Agnello in Sorrento. Bored, he left for France, stopping in Aix-les-Bains where his wife joined him. He then went to the Canton of Vaud in Switzerland, the Plombières in Belgium and finally Carnac, where Moreno, once again, joined him. His health had further worsened and they returned to Paris.
In 1903 Schwob reflected on the passing of several of his closest friends, all cultural celebrities at the time. He wrote to Edmund Gosse: "I have been sadly tried in my friends since a few years. Stevenson and Verlaine, Mallarmé and now Henley and Whistler are gone".[4]: 296 Aleister Crowley also considered Schwob a friend and asked him to translate two of his sonnets: "Rodin" and "Balzac".[8] Schwob was also friends with Lucien Guitry and tried to help him reconcile with his son, Sacha Guitry. Decades later Sacha went on to make several films with Marguerite Moreno.
The two loves of his life were a young woman known as Louise and the celebrated actress Marguerite Moreno. Schwob met Louise, a working-class girl who might have been a prostitute, in 1891, when he was 24 years old and she was 23. He kept the relationship hidden and exchanged letters with her, most of which he later destroyed. After two years she died of tuberculosis.[7]: 158 He was devastated and confided in many of his friends. He dedicated Le livre de Monelle to her, basing the central character on Louise, but turning her into a child of indeterminate age. Many consider this his most personal work, and it is the single book for which he became best known during his lifetime.
In 1894, the year after Louise's death, Schwob met Marguerite Moreno, who, at 23, had been named by Stéphane Mallarmé "the sacred muse of Symbolism",[9] and was the lover of Catulle Mendès. She had posed for sculptor Jean Dampt, artists Edmond Aman-Jean, Joseph Granié and often for Lucien Lévy-Dhurmer. In January 1895 they were officially together and they were married in London five years later, in 1900. Charles Whibley, the English writer, was a witness at the wedding. Their relationship was unconventional. They spent much time apart, due to Moreno's career and Schwob's frequent travels.
He became sick in 1896 with a chronic incurable intestinal disorder.[10] He also suffered from recurring conditions that were generally diagnosed as influenza or pneumonia, and he received intestinal surgery several times. After two surgeries by doctor Joaquin Albarrán, Robert de Montesquiou recommended the care of the well-known doctor and surgeon Samuel Jean de Pozzi, who had been lovers with Sarah Bernhardt and was later painted by John Singer Sargent. At first his treatments had some positive effects, relieving Schwob from his constant pain. In appreciation, Schwob dedicated La porte des rêves to him. But by 1900, after two more surgeries, Pozzi told him that he could not do anything else for him. In the following years he ate only kefir and fermented milk.[11][failed verification] In February 1905, after nine years of serious recurring episodes, he died at age 37, of pneumonia while his wife was away on tour, performing in Aix-en-Provence. He was surrounded by Ting, his brother Maurice and his biographer Pierre Champion.[4]: 328
An often repeated, yet baseless rumor, states that Schwob died from syphilis. It seems to have its origins in the book The Love that Dared Not Speak Its NamebyH. Montgomery Hyde, in which he wrote that Schwob died from the "effects of a syphilitic tumor in the rectum, which he acquired as a result of anal intercourse with an infected youth."[12] This apocryphal theory contradicts almost everything that is known about Schwob's health and sexual activities.[4]: 328 Schwob received treatments for syphilis on two occasions, but that does not seem to be the reason for his deteriorating health.[13]
His birth name, Mayer André Marcel Schwob, is clearly indicated on both his birth certificate and marriage license, both in the possession of the Harold B. Lee Library of Brigham Young University.[14] Despite this well-documented fact, several biographical texts erroneously continue to list his "real name" as『André Marcel Mayer』and "Marcel Schwob" as an alias.
"Vie de Morphiel, demiurge", an uncollected chapter of Vies imaginaires (1895)
"Dialogues d'Utopie" (1905)
"Maua", a private unpublished text (first printed in 2009)[17]
Other stories
"Le deuxième Phédon" and『L'Île de la liberté』(1892). These were combined and retitled "L'Anarchie" for Spicilège (1896)
"Les marionettes de l'amour" and "La femme comme Parangon d'art" in the anthology Féminies (1896). These dramatic dialogues were retitled "L'Amour" and "L'Art" for Spicilège[18]
Viktor adapted from『L’Étoile de bois』by Tommy Redolfi, Editions Paquet. 2007[31]
Le capitaine écarlate. Emmanuel Guibert (art) and David B. (script), Free Area, 2000. An imaginative and surreal story where Schwob is the protagosnist and interacts with several of his creations. Includes a reprint of "Le roi au masque d’or"[32]
^ abcdefghijklmnopSchwob, Marcel (1982). The King in the Golden Mask and other writings. Translated by White, Iain. Manchester: Carcanet New Press Limited.
^Franklin Rosemont, "Jacques Vaché and the Roots of Surrealism: Including Vache's War Letters and other Writings", Chicago: Charles H. Kerr, 2007. p. 13
^ abcdefghijklGoudemare, Sylvain (2000). Marcel Schwob ou les vies imaginaires. Paris: Le Cherche midi éditeur. ISBN9782862748191.
^Joseph, John E., 2012, Saussure, Oxford University Press, Oxford, p. 294.
^http://findingaids.princeton.edu/collections/C0224/c007 Original manuscript of the English adaptation by Vance Thompson to be produced by American impresario Charles Forthman. This was originally to be produced with Leslie Carter in the title role. It never happened and four years later, it was adapted further ("… turned the work into the American theatrical dialect") and performed as "The Lady Shore"
^Europe, n° 925, may 2006, p. 165-167. Transcription du manuscrit 3367, vol. I, Bibliothèque municipale de Nantes.
^Spicilège – Cahiers Marcel Schwob, n° 3, Paris, Société Marcel Schwob, 2010, p. 140-145. Reproduction and transcript of the manuscrit.
^William Grey, "Robert Louis Stevenson: A Literary Life", Houndsmill: Pallgrave Macmillan, 2004. p. 48
Allain, Patrice. et al. Marcel Schwob: L’Homme au masque d’or. Nantes: Gallimard, 2006. Catalog of a major exhibition on Schwob at the Municipal Library of Nantes.
Borges, Jorge Luis. Miscelánea. Barcelona: Random House Mondadori, 2011.
Ellman, Richard. Oscar Wilde. New York: Random House, 1988
Goudemare, Sylvain. Marcel Schwob ou les vies imaginaires. Paris: Le Cherche Midi, 2000.
Julian, Philippe, The Symbolists London: Phaidon, 1974.
Millman, Ian. Georges de Feure: Maitre du Symbolism et de l'Art Nouveau. Paris: ACR Édition Internationale, 1992.
