“He Recited in a Low Voice the Splendid Hymns of the Roman Church”Sir Walter Scott and Catholic Romanticism in the Thought of Henri Bremond Peter Gorday (bio) Keywords Henri Bremond, Sir Walter Scott, Waverley novels, Romanticism, Catholic Romanticism, conservative romanticism Henri Bremond (1865–1933), Roman Catholic Modernist,1 often described as a Catholic “romantic,”2 loved the novels of Sir Walter Scott and gave them substantial critical attention on three different occasions and in three different modes. In an essay of 1914, in which he anticipated the twentieth century’s renewed appreciation for Scott’s craftmanship, and which he published just as the first volume of his famous Histoire littéraire du sentiment religieux en France depuis la fin des guerres de religion jusqu’à nos jours3 was set to appear, Bremond celebrated Scott as representative of the true spirit of romanticism in literature. In 1923, in a second appreciation, he interpreted Scott’s work as an embodiment of the spirit of a genuinely Catholic romanticism, a romanticism in which the very nature of faith itself, rightly understood, hangs in the balance. And then in 1932, and as a kind of final summary of his insight into the nature of Scott’s spirituality, Bremond sketched Scott’s complexity as a religiously sensitive individual, Catholic in spirit though never an actual convert. We can, therefore, track the development of Bremond’s perspective on Walter Scott and [End Page 74] his novels through what I shall call the literary, the theological, and the biographical modes, obtaining thereby a nuanced picture of the inspiration that Bremond derived from Walter Scott in his own quest to be a true “Catholic romantic.” That same inspiration as Bremond understood it can serve us as well. The first two essays have virtually the same text but with different imports, since they were published in quite different contexts: “Walter Scott et le romantisme conservateur,” with the subtitle “À propos du centenaire de ‘Waverley’,” appeared just as World War I was to begin.4 Later, paired with a much earlier essay on the work of the novelist Maurice Barrès, and with slight revisions, and as he was about to be admitted to the Académie française, Bremond included it in his collection Pour le romantisme,5 where it is retitled more simply “Le romantisme conservateur, I. Walter Scott.” He composed the third and shortest piece, “Le centenaire d’un grand romancier-poète: Walter Scott et l’Église,” shortly before his own death, for the newspaper, La Vie catholique,6 and, I will argue, for the benefit of its liberal Catholic publisher Francisque Gay. As general background, we should recall that in his life itinerary Bremond had long been enamored of British nineteenth-century literature. Beginning with childhood experiences in which his literary-minded mother had introduced him to Victorian novels, including those of Scott (thus an indirect reminder of the status of Scott’s writing at that time as suitable primarily for children)7, continuing with his time of formation in England as a Jesuit, and through the period of his editorial activity at the Parisian Jesuit journal Études from 1899 to 1904, Bremond produced a series of affectionate review-essays on British and American authors. His passion for the work of John Henry Newman grew apace, and he was very aware of Scott’s influence on the cardinal in his Anglican days, as well as on the Oxford Anglo-Catholics in general. After 1904 and his departure from the Jesuit order, Bremond’s critical essays would continue for some years in several journals, most notably the liberal Catholic Le Correspondant. Bruno Neveu has argued that the overall effect on Bremond of these English [End Page 75] writers was to stimulate his path to a lifelong preoccupation with “religious psychology,”8 while Émile Goichot has underlined the role played for Bremond by three British Protestant free-thinkers, the “prophets from outside.”9 As Bremond’s interests turned increasingly to the history of French Catholic spirituality, his 1914 essay on Scott would be the last of his major interpretations of English language novels—though not the end of his fondness for Scott or of British...
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