Wagner waited a lifetime before the world was dragged reluctantly and resentfully up to a point from which it could discern the superiority of the tremendous finale of the Götterdämmerung to the Christmas-card chorus of angels chanting "_Âme chaste et pure_" to the beatified Marguerite. The whole prodigious structure of Wagner's dramatic and musical thought might have remained a mere adumbration in the soul of one German had chance not set a mad genius upon the throne of Bavaria. The bourgeoisie would--lacking this royal bullying--have continued to prefer Goethe and Gounod. Flaubert's great work unfortunately failed of such patronage.
It was in 1845 that an old picture by Breughel, seen at Genoa, first inspired Flaubert to attempt the story of St. Anthony. He sought out an engraving of this conception of Peter the Younger (surnamed "Hell-Breughel" for his fondness for such subjects), hung it on his walls at Croisset, and after three years of brooding upon it began, May 24, 1848, _La Tentation de St. Antoine._ In twelve months he had finished the first draught of the work, which bulked to 540 pages. It was laid aside for "Bovary," and a second version of the "Temptation" was completed in 1856, but this time the manuscript had been reduced to 193 pages, and the "blazing phrases, the jewelled words, the turbulence, the comedy, the mysticism" of the first version had been superseded by a larger, more dramatic conception. In 1872 he made still a new draught, and by this time it had shrunk to 136 pages. He even then eliminated three chapters, and finally gave to the world in 1874 "this wonderful coloured panorama of philosophy, this Gulliver-like travelling amid the master ideas of the antique and early Christian worlds."
Faguet says, "In its primitive and legendary state the temptation of St. Anthony was nothing more than the story of a recluse tempted by the Devil through the flesh, by all the artifices at the Devil's disposal. In the definite thought of Flaubert the temptation of St. Anthony has become man's soul tempted by all the illusions of human thought and imagination. St. Anthony to the eyes of the first naive hagiologists is a second Adam, seduced by woman, who was inspired by Satan. St. Anthony conceived by Flaubert is a more thoughtful Faust; a Faust incapable of irony, not a Faust who could play with illusions and with himself--secretly persuaded that he could withdraw when he chose to give himself the trouble to do so--rather a Faust who approached, accosted, caressed all possible forms of universal illusions."