Writer 1879: Solitary Journey in France

Chapter 458 A Double Victory for Britain and France! (Bonus Chapter 13 for October Monthly Tickets)

Two days later, on the streets of Paris, newsboys waved newly published copies of *La Repubblica*, shouting out an eye-catching headline in their shrill voices:

"Read the newspaper! Read the newspaper! Lionel Sorel's latest article! 'Have the French Lost Their Self-Confidence?'"

Both the name "Lionel Sorel" and the title "Have the French lost their self-confidence?" are captivating enough.

People stopped to watch, took out two sous to buy the newspaper, and eagerly unfolded it, wanting to see what the young writer, who had remained silent since returning home, had to say.

The article begins by directly addressing the recent controversy:

Judging from recent public opinion: Some time ago, we always boasted about being a "center of civilization" and a "temple of art," which was true;
It's true that some people stop boasting after going to the United States and start to envy others' energy and honesty.

Now, instead of praising themselves too much or completely trusting others, they invariably criticize those who point out problems for damaging "national self-confidence" and for indulging in nostalgia and lamentation.
—But that is also the truth.

Some people lamented that the French had lost their self-confidence.

If we consider only this phenomenon, self-confidence has actually been lost long ago. Previously, there was faith in the "emperor," faith in the "revolution," and later faith in the "center of civilization"—but there was never true faith in "oneself."

If this can be considered a kind of "faith," then it can only be said that the French once had "faith in others." Since discovering that America is not just about money and steel, this "faith in others" has been shaken, and they have instead retreated into a more illusory form of "self-deception."

Once you lose the trust of others, you will become suspicious. A turn of events might allow you to believe only in yourself, which could be a new path, but unfortunately, you gradually become hypocritical.

Believing in the "emperor" and the "revolution" are still tangible things; but believing that "French culture is forever superior" is somewhat far-fetched, though I believe that soon people will realize how unreliable it is.

To be so hypocritical as to only accept praise and forbid any view of the outside world, and to panic at the slightest comparison, is utterly despicable. To reject other cultures outright when one cannot immediately determine whether they are beneficial or harmful is nothing more than using "cultural ether" to numb oneself indefinitely.

The French are now developing "self-deception"!
Self-deception is nothing new, but it has become increasingly apparent lately, even attempting to permeate everything. However, beneath this veil, we have the French who have not lost their self-confidence.

Throughout history, France has had people who work diligently, people who fight desperately, people who speak out for the people, and people who sacrifice themselves for revolution... Although the salons in Paris that only engage in empty talk do not like to mention their names, no one can hide their brilliance. This is the backbone of France!

How few people are like this? They are confident and do not deceive themselves; they live, work, and fight one after another, but they are always ignored, ridiculed, and drowned out by the clamor of restlessness, and remain unknown to the public.

To say that the French have lost their self-confidence is acceptable to refer to a segment of the population, but to apply it to the whole is simply slander!

To understand the French, one must not be fooled by their superficial, self-deceptive facade, but rather look at their sinews and spine.

Whether someone possesses self-confidence or not, the sentiments expressed in salons and the articles in newspapers are insufficient evidence; one must observe those who actually take action.

The article ends abruptly here, brief yet shattering the days-long debate.

It neither directly defended the United States nor denied the problems existing in France.

It simply points out that the mentality of becoming anxious and attacking dissidents because of hearing a different voice or seeing changes in the outside world is not true "confidence," but rather a manifestation of losing confidence and turning to "belief in others" and "self-deception."

True French national self-confidence is rooted in the silent majority—those who, regardless of the era, have always been "hard-working" and "desperately striving."

These people constitute the "bones and spine" of the French nation.

Rather than those elites who only claim in newspapers and salons that they are defending the confidence of the French nation.

The article generated an immediate and significant response.

A commentator from La Repubblica quickly followed up on this article:
Mr. Sorel revealed with his pen the root of all the disagreement—we are arguing about the wrong thing!

The key issue is not whether America is good or bad, but how we view ourselves.

A healthy nation with true self-confidence dares to face others squarely and also dares to reflect on itself.

Only the weak need to cover their ears and close their eyes to maintain their pitiful self-esteem.

Le Figaro wrote:

"Muscles and bones, spine"—how well said! This frees us from pointless squabbles and allows us to turn our attention to the true masters of this land.

—Our people!

Their diligence, wisdom, and perseverance are the inexhaustible source of France's strength.

Even the French newspaper Acta France-Sinica, which had previously been the most vocal critic, has temporarily fallen silent.

Continuing to attack Zola and others for "losing self-confidence" would be tantamount to admitting that one is "developing self-deception" and falling into Lionel's trap.

The atmosphere in cafes and salons has also shifted.

People began to cite the phrase "muscles and spine," and the focus of the discussion shifted from "whether America is a role model" to "how to revitalize itself."

The term "self-deception" is frequently used to mock those stubborn individuals who are closed-minded and refuse to accept any criticism.

Just as the article's popularity continued to rise, a heavyweight voice joined the discussion.

Due to health reasons, Victor Hugo, who had been living in seclusion for a long time, once again stood before the public.

He issued a brief statement to the press through his family: “I read Mr. Sorel’s article, and he spoke the voice most needed in this time of year.”

France's greatness lies precisely in its willingness to absorb all criticism and transform it into a driving force for its own progress.

Voltaire praised the British constitutional monarchy, and Montesquieu studied Persian law; this never diminished the glory of France, but rather made it even more radiant.

Huddled in past glories, clamoring that French culture is forever superior, is not confidence, but cowardice.

I support Mr. Sorel's view; look at our "bones and spine," for they are where hope lies.

Hugo's public support sealed the deal in this debate.

In an instant, all the negative comments that the French writers' praise of America would damage the French people's self-confidence vanished in a real sense.

With a short essay, Lionel successfully turned public opinion around and brought this "American storm" to a close.

The Comédie-Française also changed its poster for "Café" accordingly; the image remained the same, but the slogan was changed to:
Witness the backbone of France at the café premiere!
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Time slipped by unnoticed, and before we knew it, the Christmas spirit had gradually enveloped the whole of Europe.

Shops lining the street hung holly and mistletoe wreaths, and the air was filled with the aroma of roasted chestnuts and mulled wine.

For Lionel Sorel, this Christmas is destined to be a double celebration in both England and France!
London, across the English Channel.

On the morning of December 26th, just after Christmas, a day that should have been for rest, long queues formed outside newsstands and bookstores on the street.

Citizens, students, office workers, servants... they held coins in their hands, waiting to buy the latest issue of "Good Words" magazine.

The mid-month issue of "Good Words" magazine previewed: "Sherlock Holmes is back! The brand new long-running series 'The Hound of the Baskervilles' is about to begin!"

The promotional campaign for this production of "The Hound of the Baskervilles" didn't involve any fancy tricks.

Because the Sherlock Holmes series had already amassed an unshakeable and massive readership in Britain through works like "A Study in Scarlet" and "The Sign of Four".

How can we not be eagerly anticipating this return after several months?
"God, we've been waiting for this! Holmes and Watson!"

"I heard this story is especially terrifying, it happened in the wasteland!"

"Good Words even moved up the release date of the second half of the month's issue, just so it could be given as a Christmas gift!"

"Did you notice the big dog in the poster? Its eyes and mouth are breathing fire!"

As soon as the newsstand owner took his place and the bookstore opened, the crowd began to move forward rapidly.

The latest issue of "Good Words" was handed out by the shop assistant at an astonishing speed, falling into eager hands.

Many people, upon receiving the magazine, couldn't even wait to go home; they stood on the street, eagerly flipping to the serialized pages and immersing themselves in the story…

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In the evening, this spectacle moved to Paris.

"Café" will have its grand premiere at the Comédie-Française during the Christmas season.

Tickets for this new play are already extremely hard to come by.

At the entrance of the Comédie-Française, the queue for entry had already stretched into a long line, occupying the entire square and winding out onto the street.

The gentlemen wore heavy wool coats and shod their feet to keep warm; the ladies were wrapped in gorgeous furs and had excited blushes on their faces.

The arc lights illuminated the theater's facade, and the words "Café" stood out prominently on the huge poster.

The white breaths exhaled by people mingled in the air, and the sounds of conversation and laughter merged into a lively wave of sound, dispelling the chill of the winter night.

"I heard the set is incredibly realistic, a complete recreation of a coffee shop from a hundred years ago!"

"Mr. Sorel's work will certainly not disappoint."

"What I'm most looking forward to is the effect of the electrical lighting; the lightning in 'Thunderstorm' is still unforgettable!"

Upon entering, people discovered a new change at the comedy theater – the brilliant lights were all provided by electric lights.

Gaslighting was completely abandoned, and the Comedy Theatre became the first "fully electrified" theater in Europe.

Paris's cultural, political, and social elites gathered, filling every seat, even the aisles were packed.

Everyone knows that Lionel wrote a "comedy," and everyone expects it to be as heartwarming as "The Choir," which premiered two Christmases ago.

Amidst great anticipation, the curtain of Richelieu Hall slowly rose...

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(End of this chapter)