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Against The Grain
by Joris-Karl Huysmans
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He tasted a drop of this liquor and, for a few moments, had relief. But soon the fire, which the dash of wine had lit in his bowels, revived. He threw down his napkin, returned to his study, and paced the floor. He felt as if he were under a pneumatic clock, and a numbing weakness stole from his brain through his limbs. Unable to endure it longer, he betook himself to the garden. It was the first time he had done this since his arrival at Fontenay. There he found shelter beneath a tree which radiated a circle of shadow. Seated on the lawn, he looked around with a besotted air at the square beds of vegetables planted by the servants. He gazed, but it was only at the end of an hour that he really saw them, for a greenish film floated before his eyes, permitting him only to see, as in the depths of water, flickering images of shifting tones.

But when he recovered his balance, he clearly distinguished the onions and cabbages, a garden bed of lettuce further off, and, in the distance along the hedge, a row of white lillies recumbent in the heavy air.

A smile played on his lips, for he suddenly recalled the strange comparison of old Nicandre, who likened, in the point of form, the pistils of lillies to the genital organs of a donkey; and he recalled also a passage from Albert le Grand, in which that thaumaturgist describes a strange way of discovering whether a girl is still a virgin, by means of a lettuce.

These remembrances distracted him somewhat. He examined the garden, interesting himself in the plants withered by the heat, and in the hot ground whose vapors rose into the dusty air. Then, above the hedge which separated the garden below from the embankment leading to the fort, he watched the urchins struggling and tumbling on the ground.

He was concentrating his attention upon them when another younger, sorry little specimen appeared. He had hair like seaweed covered with sand, two green bubbles beneath his nose, and disgusting lips surrounded by a dirty white frame formed by a slice of bread smeared with cheese and filled with pieces of scallions.

Des Esseintes inhaled the air. A perverse appetite seized him. This dirty slice made his mouth water. It seemed to him that his stomach, refusing all other nourishment, could digest this shocking food, and that his palate would enjoy it as though it were a feast.

He leaped up, ran to the kitchen and ordered a loaf, white cheese and green onions to be brought from the village, emphasizing his desire for a slice exactly like the one being eaten by the child. Then he returned to sit beneath the tree.

The little chaps were fighting with one another. They struggled for bits of bread which they shoved into their cheeks, meanwhile sucking their fingers. Kicks and blows rained freely, and the weakest, trampled upon, cried out.

At this sight, Des Esseintes recovered his animation. The interest he took in this fight distracted his thoughts from his illness. Contemplating the blind fury of these urchins, he thought of the cruel and abominable law of the struggle of existence; and, although these children were mean, he could not help being interested in their futures, yet could not but believe that it had been better for them had their mothers never given them birth.

In fact, all they could expect of life was rash, colic, fever, and measles in their earliest years; slaps in the face and degrading drudgeries up to thirteen years; deceptions by women, sicknesses and infidelity during manhood and, toward the last, infirmities and agonies in a poorhouse or asylum.

And the future was the same for every one, and none in his good senses could envy his neighbor. The rich had the same passions, the same anxieties, the same pains and the same illnesses, but in a different environment; the same mediocre enjoyments, whether alcoholic, literary or carnal. There was even a vague compensation in evils, a sort of justice which re-established the balance of misfortune between the classes, permitting the poor to bear physical suffering more easily, and making it difficult for the unresisting, weaker bodies of the rich to withstand it.

How vain, silly and mad it is to beget brats! And Des Esseintes thought of those ecclesiastics who had taken vows of sterility, yet were so inconsistent as to canonize Saint Vincent de Paul, because he brought vain tortures to innocent creatures.

By means of his hateful precautions, Vincent de Paul had deferred for years the death of unintelligent and insensate beings, in such a way that when they later became almost intelligent and sentient to grief, they were able to anticipate the future, to await and fear that death of whose very name they had of late been ignorant, some of them going as far to invoke it, in hatred of that sentence of life which the monk inflicted upon them by an absurd theological code.

And since this old man's death, his ideas had prevailed. Abandoned children were sheltered instead of being killed and yet their lives daily became increasingly rigorous and barren! Then, under pretext of liberty and progress, Society had discovered another means of increasing man's miseries by tearing him from his home, forcing him to don a ridiculous uniform and carry weapons, by brutalizing him in a slavery in every respect like that from which he had compassionately freed the negro, and all to enable him to slaughter his neighbor without risking the scaffold like ordinary murderers who operate single-handed, without uniforms and with weapons that are less swift and deafening.

Des Esseintes wondered if there had ever been such a time as ours. Our age invokes the causes of humanity, endeavors to perfect anaesthesia to suppress physical suffering. Yet at the same time it prepares these very stimulants to increase moral wretchedness.

Ah! if ever this useless procreation should be abolished, it were now. But here, again, the laws enacted by men like Portalis and Homais appeared strange and cruel.

In the matter of generation, Justice finds the agencies for deception to be quite natural. It is a recognized and acknowledged fact. There is scarcely a home of any station that does not confide its children to the drain pipes, or that does not employ contrivances that are freely sold, and which it would enter no person's mind to prohibit. And yet, if these subterfuges proved insufficient, if the attempt miscarried and if, to remedy matters, one had recourse to more efficacious measures, ah! then there were not prisons enough, not municipal jails enough to confine those who, in good faith, were condemned by other individuals who had that very evening, on the conjugal bed, done their utmost to avoid giving birth to children.

The deceit itself was not a crime, it seemed. The crime lay in the justification of the deceit.

What Society considered a crime was the act of killing a being endowed with life; and yet, in expelling a foetus, one destroyed an animal that was less formed and living and certainly less intelligent and more ugly than a dog or a cat, although it is permissible to strangle these creatures as soon as they are born.

It is only right to add, for the sake of fairness, thought Des Esseintes, that it is not the awkward man, who generally loses no time in disappearing, but rather the woman, the victim of his stupidity, who expiates the crime of having saved an innocent life.

Yet was it right that the world should be filled with such prejudice as to wish to repress manoeuvres so natural that primitive man, the Polynesian savage, for instance, instinctively practices them?

The servant interrupted the charitable reflections of Des Esseintes, who received the slice of bread on a plate of vermeil. Pains shot through his heart. He did not have the courage to eat this bread, for the unhealthy excitement of his stomach had ceased. A sensation of frightful decay swept upon him. He was compelled to rise. The sun turned, and slowly fell upon the place that he had lately occupied. The heat became more heavy and fierce.

"Throw this slice of bread to those children who are murdering each other on the road," he ordered his servant. "Let the weakest be crippled, be denied share in the prize, and be soundly thrashed into the bargain, as they will be when they return to their homes with torn trousers and bruised eyes. This will give them an idea of the life that awaits them!"

And he entered the house and sank into his armchair.

"But I must try to eat something," he said. And he attempted to soak a biscuit in old Constantia wine, several bottles of which remained in his cellar.

That wine, the color of slightly burned onions, partaking of Malaga and Port, but with a specially luscious flavor, and an after-taste of grapes dried by fiery suns, had often comforted him, given a new energy to his stomach weakened by the fasts which he was forced to undergo. But this cordial, usually so efficacious, now failed. Then he thought that an emollient might perhaps counteract the fiery pains which were consuming him, and he took out the Nalifka, a Russian liqueur, contained in a bottle frosted with unpolished glass. This unctuous raspberry-flavored syrup also failed. Alas! the time was far off when, enjoying good health, Des Esseintes had ridden to his house in the hot summer days in a sleigh, and there, covered with furs wrapped about his chest, forced himself to shiver, saying, as he listened attentively to the chattering of his teeth: "Ah, how biting this wind is! It is freezing!" Thus he had almost succeeded in convincing himself that it was cold.

Unfortunately, such remedies as these had failed of their purpose ever since his sickness became vital.

With all this, he was unable to make use of laudanum: instead of allaying the pain, this sedative irritated him even to the degree of depriving him of rest. At one time he had endeavored to procure visions through opium and hashish, but these two substances had led to vomitings and intense nervous disturbances. He had instantly been forced to give up the idea of taking them, and without the aid of these coarse stimulants, demand of his brain alone to transport him into the land of dreams, far, far from life.

"What a day!" he said to himself, sponging his neck, feeling every ounce of his strength dissolve in perspiration; a feverish agitation still prevented him from remaining in one spot; once more he walked up and down, trying every chair in the room in turn. Wearied of the struggle, at last he fell against his bureau and leaning mechanically against the table, without thinking of anything, he touched an astrolabe which rested on a mass of books and notes and served as a paper weight.

He had purchased this engraved and gilded copper instrument (it had come from Germany and dated from the seventeenth century) of a second-hand Paris dealer, after a visit to the Cluny Museum, where he had stood for a long while in ecstatic admiration before a marvelous astrolabe made of chiseled ivory, whose cabalistic appearance enchanted him.

This paper weight evoked many reminiscences within him. Aroused and actuated by the appearance of this trinket, his thoughts rushed from Fontenay to Paris, to the curio shop where he had purchased it, then returned to the Museum, and he mentally beheld the ivory astrolabe, while his unseeing eyes continued to gaze upon the copper astrolabe on the table.

Then he left the Museum and, without quitting the town, strolled down the streets, wandered through the rue du Sommerard and the boulevard Saint-Michel, branched off into the neighboring streets, and paused before certain shops whose quite extraordinary appearance and profusion had often attracted him.

Beginning with an astrolabe, this spiritual jaunt ended in the cafes of the Latin Quarter.

He remembered how these places were crowded in the rue Monsieur-le-Prince and at the end of the rue de Vaugirard, touching the Odeon; sometimes they followed one another like the old riddecks of the Canal-aux-Harengs, at Antwerp, each of which revealed a front, the counterpart of its neighbor.

Through the half-opened doors and the windows dimmed with colored panes or curtains, he had often seen women who walked about like geese; others, on benches, rested their elbows on the marble tables, humming, their temples resting between their hands; still others strutted and posed in front of mirrors, playing with their false hair pomaded by hair-dressers; others, again, took money from their purses and methodically sorted the different denominations in little heaps.

Most of them had heavy features, hoarse voices, flabby necks and painted eyes; and all of them, like automatons, moved simultaneously upon the same impulse, flung the same enticements with the same tone and uttered the identical queer words, the same odd inflections and the same smile.

Certain ideas associated themselves in the mind of Des Esseintes, whose reveries came to an end, now that he recalled this collection of coffee-houses and streets.

He understood the significance of those cafes which reflected the state of soul of an entire generation, and from it he discovered the synthesis of the period.

And, in fact, the symptoms were certain and obvious. The houses of prostitution disappeared, and as soon as one of them closed, a cafe began to operate.

This restriction of prostitution which proved profitable to clandestine loves, evidently arose from the incomprehensible illusions of men in the matter of carnal life.

Monstrous as it may appear, these haunts satisfied an ideal.

Although the utilitarian tendencies transmitted by heredity and developed by the precocious rudeness and constant brutalities of the colleges had made the youth of the day strangely crude and as strangely positive and cold, it had none the less preserved, in the back of their heads, an old blue flower, an old ideal of a vague, sour affection.

Today, when the blood clamored, youths could not bring themselves to go through the formality of entering, ending, paying and leaving; in their eyes, this was bestiality, the action of a dog attacking a bitch without much ado. Then, too, vanity fled unsatisfied from these houses where there was no semblance of resistance; there was no victory, no hoped for preference, nor even largess obtained from the tradeswoman who measured her caresses according to the price. On the contrary, the courting of a girl of the cafes stimulated all the susceptibilities of love, all the refinements of sentiment. One disputed with the others for such a girl, and those to whom she granted a rendezvous, in consideration of much money, were sincere in imagining that they had won her from a rival, and in so thinking they were the objects of honorary distinction and favor.

Yet this domesticity was as stupid, as selfish, as vile as that of houses of ill-fame. Its creatures drank without being thirsty, laughed without reason, were charmed by the caresses of a slut, quarrelled and fought for no reason whatever, despite everything. The Parisian youth had not been able to see that these girls were, from the point of plastic beauty, graceful attitudes and necessary attire, quite inferior to the women in the bawdy houses! "My God," Des Esseintes exclaimed, "what ninnies are these fellows who flutter around the cafes; for, over and above their silly illusions, they forget the danger of degraded, suspicious allurements, and they are unaware of the sums of money given for affairs priced in advance by the mistress, of the time lost in waiting for an assignation deferred so as to increase its value and cost, delays which are repeated to provide more tips for the waiters."

This imbecile sentimentality, combined with a ferociously practical sense, represented the dominant motive of the age. These very persons who would have gouged their neighbors' eyes to gain ten sous, lost all presence of mind and discrimination before suspicious looking girls in restaurants who pitilessly harassed and relentlessly fleeced them. Fathers devoted their lives to their businesses and labors, families devoured one another on the pretext of trade, only to be robbed by their sons who, in turn, allowed themselves to be fleeced by women who posed as sweethearts to obtain their money.

In all Paris, from east to west and from north to south, there existed an unbroken chain of female tricksters, a system of organized theft, and all because, instead of satisfying men at once, these women were skilled in the subterfuges of delay.

At bottom, one might say that human wisdom consisted in the protraction of all things, in saying "no" before saying "yes," for one could manage people only by trifling with them.

"Ah! if the same were but true of the stomach," sighed Des Esseintes, racked by a cramp which instantly and sharply brought back his mind, that had roved far off, to Fontenay.



Chapter 14

Several days slowly passed thanks to certain measures which succeeded in tricking the stomach, but one morning Des Esseintes could endure food no longer, and he asked himself anxiously whether his already serious weakness would not grow worse and force him to take to bed. A sudden gleam of light relieved his distress; he remembered that one of his friends, quite ill at one time, had made use of a Papin's digester to overcome his anaemia and preserve what little strength he had.

He dispatched his servant to Paris for this precious utensil, and following the directions contained in the prospectus which the manufacturer had enclosed, he himself instructed the cook how to cut the roast beef into bits, put it into the pewter pot, with a slice of leek and carrot, and screw on the cover to let it boil for four hours.

At the end of this time the meat fibres were strained. He drank a spoonful of the thick salty juice deposited at the bottom of the pot. Then he felt a warmth, like a smooth caress, descend upon him.

This nourishment relieved his pain and nausea, and even strengthened his stomach which did not refuse to accept these few drops of soup.

Thanks to this digester, his neurosis was arrested and Des Esseintes said to himself: "Well, it is so much gained; perhaps the temperature will change, the sky will throw some ashes upon this abominable sun which exhausts me, and I shall hold out without accident till the first fogs and frosts of winter."

In the torpor and listless ennui in which he was sunk, the disorder of his library, whose arrangement had never been completed, irritated him. Helpless in his armchair, he had constantly in sight the books set awry on the shelves propped against each other or lying flat on their sides, like a tumbled pack of cards. This disorder offended him the more when he contrasted it with the perfect order of his religious works, carefully placed on parade along the walls.

He tried to clear up the confusion, but after ten minutes of work, perspiration covered him; the effort weakened him. He stretched himself on a couch and rang for his servant.

Following his directions, the old man continued the task, bringing each book in turn to Des Esseintes who examined it and directed where it was to be placed.

This task did not last long, for Des Esseintes' library contained but a very limited number of contemporary, secular works.

They were drawn through his brain as bands of metal are drawn through a steel-plate from which they issue thin, light, and reduced to almost imperceptible wires; and he had ended by possessing only those books which could submit to such treatment and which were so solidly tempered as to withstand the rolling-mill of each new reading. In his desire to refine, he had restrained and almost sterilized his enjoyment, ever accentuating the irremediable conflict existing between his ideas and those of the world in which he had happened to be born. He had now reached such a pass that he could no longer discover any writings to content his secret longings. And his admiration even weaned itself from those volumes which had certainly contributed to sharpen his mind, making it so suspicious and subtle.

In art, his ideas had sprung from a simple point of view. For him schools did not exist, and only the temperament of the writer mattered, only the working of his brain interested him, regardless of the subject. Unfortunately, this verity of appreciation, worthy of Palisse, was scarcely applicable, for the simple reason that, even while desiring to be free of prejudices and passion, each person naturally goes to the works which most intimately correspond with his own temperament, and ends by relegating all others to the rear.

This work of selection had slowly acted within him; not long ago he had adored the great Balzac, but as his body weakened and his nerves became troublesome, his tastes modified and his admirations changed.

Very soon, and despite the fact that he was aware of his injustice to the amazing author of the Comedie humaine, Des Esseintes had reached a point where he no longer opened Balzac's books; their healthy spirit jarred on him. Other aspirations now stirred in him, somehow becoming undefinable.

Yet when he probed himself he understood that to attract, a work must have that character of strangeness demanded by Edgar Allen Poe; but he ventured even further on this path and called for Byzantine flora of brain and complicated deliquescences of language. He desired a troubled indecision on which he might brood until he could shape it at will to a more vague or determinate form, according to the momentary state of his soul. In short, he desired a work of art both for what it was in itself and for what it permitted him to endow it. He wished to pass by means of it into a sphere of sublimated sensation which would arouse in him new commotions whose cause he might long and vainly seek to analyze.

In short, since leaving Paris, Des Esseintes was removing himself further and further from reality, especially from the contemporary world which he held in an ever growing detestation. This hatred had inevitably reacted on his literary and artistic tastes, and he would have as little as possible to do with paintings and books whose limited subjects dealt with modern life.

Thus, losing the faculty of admiring beauty indiscriminately under whatever form it was presented, he preferred Flaubert's Tentation de saint Antoine to his Education sentimentale; Goncourt's Faustin to his Germinie Lacerteux; Zola's Faute de l'abbe Mouret to his Assommoir.

This point of view seemed logical to him; these works less immediate, but just as vibrant and human, enabled him to penetrate farther into the depths of the temperaments of these masters who revealed in them the most mysterious transports of their being with a more sincere abandon; and they lifted him far above this trivial life which wearied him so.

In them he entered into a perfect communion of ideas with their authors who had written them when their state of soul was analogous to his own.

In fact, when the period in which a man of talent is obliged to live is dull and stupid, the artist, though unconsciously, is haunted by a nostalgia of some past century.

Finding himself unable to harmonize, save at rare intervals, with the environment in which he lives and not discovering sufficient distraction in the pleasures of observation and analysis, in the examination of the environment and its people, he feels in himself the dawning of strange ideas. Confused desires for other lands awake and are clarified by reflection and study. Instincts, sensations and thoughts bequeathed by heredity, awake, grow fixed, assert themselves with an imperious assurance. He recalls memories of beings and things he has never really known and a time comes when he escapes from the penitentiary of his age and roves, in full liberty, into another epoch with which, through a last illusion, he seems more in harmony.

With some, it is a return to vanished ages, to extinct civilizations, to dead epochs; with others, it is an urge towards a fantastic future, to a more or less intense vision of a period about to dawn, whose image, by an effect of atavism of which he is unaware, is a reproduction of some past age.

In Flaubert this nostalgia is expressed in solemn and majestic pictures of magnificent splendors, in whose gorgeous, barbaric frames move palpitating and delicate creatures, mysterious and haughty—women gifted, in the perfection of their beauty, with souls capable of suffering and in whose depths he discerned frightful derangements, mad aspirations, grieved as they were by the haunting premonition of the dissillusionments their follies held in store.

The temperament of this great artist is fully revealed in the incomparable pages of the Tentation de saint Antoine and Salammbo where, far from our sorry life, he evokes the splendors of old Asia, the age of fervent prayer and mystic depression, of languorous passions and excesses induced by the unbearable ennui resulting from opulence and prayer.

In de Goncourt, it was the nostalgia of the preceding century, a return to the elegances of a society forever lost. The stupendous setting of seas beating against jetties, of deserts stretching under torrid skies to distant horizons, did not exist in his nostalgic work which confined itself to a boudoir, near an aulic park, scented with the voluptuous fragrance of a woman with a tired smile, a perverse little pout and unresigned, pensive eyes. The soul with which he animated his characters was not that breathed by Flaubert into his creatures, no longer the soul early thrown in revolt by the inexorable certainty that no new happiness is possible; it was a soul that had too late revolted, after the experience, against all the useless attempts to invent new spiritual liaisons and to heighten the enjoyment of lovers, which from immemorial times has always ended in satiety.

Although she lived in, and partook of the life of our time, Faustin, by her ancestral influences, was a creature of the past century whose cerebral lassitude and sensual excesses she possessed.

This book of Edmond de Goncourt was one of the volumes which Des Esseintes loved best, and the suggestion of revery which he demanded lived in this work where, under each written line, another line was etched, visible to the spirit alone, indicated by a hint which revealed passion, by a reticence permitting one to divine subtle states of soul which no idiom could express. And it was no longer Flaubert's language in its inimitable magnificence, but a morbid, perspicacious style, nervous and twisted, keen to note the impalpable impression that strikes the senses, a style expert in modulating the complicated nuances of an epoch which in itself was singularly complex. In short, it was the epithet indispensable to decrepit civilizations, no matter how old they be, which must have words with new meanings and forms, innovations in phrases and words for their complex needs.

At Rome, the dying paganism had modified its prosody and transmuted its language with Ausonius, with Claudian and Rutilius whose attentive, scrupulous, sonorous and powerful style presented, in its descriptive parts especially, reflections, hints and nuances bearing an affinity with the style of de Goncourt.

At Paris, a fact unique in literary history had been consummated. That moribund society of the eighteenth century, which possessed painters, musicians and architects imbued with its tastes and doctrines, had not been able to produce a writer who could truly depict its dying elegances, the quintessence of its joys so cruelly expiated. It had been necessary to await the arrival of de Goncourt (whose temperament was formed of memories and regrets made more poignant by the sad spectacle of the intellectual poverty and the pitiful aspirations of his own time) to resuscitate, not only in his historical works, but even more in Faustin, the very soul of that period; incarnating its nervous refinements in this actress who tortured her mind and her senses so as to savor to exhaustion the grievous revulsives of love and of art.

With Zola, the nostalgia of the far-away was different. In him was no longing for vanished ages, no aspiring toward worlds lost in the night of time. His strong and solid temperament, dazzled with the luxuriance of life, its sanguine forces and moral health, diverted him from the artificial graces and painted chloroses of the past century, as well as from the hierarchic solemnity, the brutal ferocity and misty, effeminate dreams of the old orient. When he, too, had become obsessed by this nostalgia, by this need, which is nothing less than poetry itself, of shunning the contemporary world he was studying, he had rushed into an ideal and fruitful country, had dreamed of fantastic passions of skies, of long raptures of earth, and of fecund rains of pollen falling into panting organs of flowers. He had ended in a gigantic pantheism, had created, unwittingly perhaps, with this Edenesque environment in which he placed his Adam and Eve, a marvelous Hindoo poem, singing, in a style whose broad, crude strokes had something of the bizarre brilliance of an Indian painting, the song of the flesh, of animated living matter revealing, to the human creature, by its passion for reproduction the forbidden fruits of love, its suffocations, its instinctive caresses and natural attitudes.

With Baudelaire, these three masters had most affected Des Esseintes in modern, French, secular literature. But he had read them so often, had saturated himself in them so completely, that in order to absorb them he had been compelled to lay them aside and let them remain unread on his shelves.

Even now when the servant was arranging them for him, he did not care to open them, and contented himself merely with indicating the place they were to occupy and seeing that they were properly classified and put away.

The servant brought him a new series of books. These oppressed him more. They were books toward which his taste had gradually veered, books which diverted him by their very faults from the perfection of more vigorous writers. Here, too, Des Esseintes had reached the point where he sought, among these troubled pages, only phrases which discharged a sort of electricity that made him tremble; they transmitted their fluid through a medium which at first sight seemed refractory.

Their imperfections pleased him, provided they were neither parasitic nor servile, and perhaps there was a grain of truth in his theory that the inferior and decadent writer, who is more subjective, though unfinished, distills a more irritating aperient and acid balm than the artist of the same period who is truly great. In his opinion, it was in their turbulent sketches that one perceived the exaltations of the most excitable sensibilities, the caprices of the most morbid psychological states, the most extravagant depravities of language charged, in spite of its rebelliousness, with the difficult task of containing the effervescent salts of sensations and ideas.

Thus, after the masters, he betook himself to a few writers who attracted him all the more because of the disdain in which they were held by the public incapable of understanding them.

One of them was Paul Verlaine who had begun with a volume of verse, the Poemes Saturniens, a rather ineffectual book where imitations of Leconte de Lisle jostled with exercises in romantic rhetoric, but through which already filtered the real personality of the poet in such poems as the sonnet Reve Familier.

In searching for his antecedents, Des Esseintes discovered, under the hesitant strokes of the sketches, a talent already deeply affected by Baudelaire, whose influence had been accentuated later on, acquiesced in by the peerless master; but the imitation was never flagrant.

And in some of his books, Bonne Chanson, Fetes Galantes, Romances sans paroles, and his last volume, Sagesse, were poems where he himself was revealed as an original and outstanding figure.

With rhymes obtained from verb tenses, sometimes even from long adverbs preceded by a monosyllable from which they fell as from a rock into a heavy cascade of water, his verses, divided by improbable caesuras, often became strangely obscure with their audacious ellipses and strange inaccuracies which none the less did not lack grace.

With his unrivalled ability to handle metre, he had sought to rejuvenate the fixed poetic forms. He turned the tail of the sonnet into the air, like those Japanese fish of polychrome clay which rest on stands, their heads straight down, their tails on top. Sometimes he corrupted it by using only masculine rhymes to which he seemed partial. He had often employed a bizarre form—a stanza of three lines whose middle verse was unrhymed, and a tiercet with but one rhyme, followed by a single line, an echoing refrain like "Dansons la Gigue" in Streets. He had employed other rhymes whose dim echoes are repeated in remote stanzas, like faint reverberations of a bell.

But his personality expressed itself most of all in vague and delicious confidences breathed in hushed accents, in the twilight. He alone had been able to reveal the troubled Ultima Thules of the soul; low whisperings of thoughts, avowals so haltingly and murmuringly confessed that the ear which hears them remains hesitant, passing on to the soul languors quickened by the mystery of this suggestion which is divined rather than felt. Everything characteristic of Verlaine was expressed in these adorable verses of the Fetes Galantes:

Le soir tombait, un soir equivoque d'automne, Les belles se pendant reveuses a nos bras, Dirent alors des mots si specieux tout bas, Que notre ame depuis ce temps tremble et s'etonne

It was no longer the immense horizon opened by the unforgettable portals of Baudelaire; it was a crevice in the moonlight, opening on a field which was more intimate and more restrained, peculiar to Verlaine who had formulated his poetic system in those lines of which Des Esseintes was so fond:

Car nous voulons la nuance encore, Pas la couleur, rien que la nuance. Et tout le reste est litterature.

Des Esseintes had followed him with delight in his most diversified works. After his Romances sans paroles which had appeared in a journal, Verlaine had preserved a long silence, reappearing later in those charming verses, hauntingly suggestive of the gentle and cold accents of Villon, singing of the Virgin, "removed from our days of carnal thought and weary flesh." Des Esseintes often re-read Sagesse whose poems provoked him to secret reveries, a fanciful love for a Byzantine Madonna who, at a certain moment, changed into a distracted modern Cydalise so mysterious and troubling that one could not know whether she aspired toward depravities so monstrous that they became irresistible, or whether she moved in an immaculate dream where the adoration of the soul floated around her ever unavowed and ever pure.

There were other poets, too, who induced him to confide himself to them: Tristan Corbiere who, in 1873, in the midst of the general apathy had issued a most eccentric volume entitled: Les Amours jaunes. Des Esseintes who, in his hatred of the banal and commonplace, would gladly have accepted the most affected folly and the most singular extravagance, spent many enjoyable hours with this work where drollery mingled with a disordered energy, and where disconcerting lines blazed out of poems so absolutely obscure as the litanies of Sommeil, that they qualified their author for the name of

Obscene confesseur des devotes mort-nees.

The style was hardly French. The author wrote in the negro dialect, was telegraphic in form, suppressed verbs, affected a teasing phraseology, revelled in the impossible puns of a travelling salesman; then out of this jumble, laughable conceits and sly affectations emerged, and suddenly a cry of keen anguish rang out, like the snapping string of a violoncello. And with all this, in his hard rugged style, bristling with obsolescent words and unexpected neologisms, flashed perfect originalities, treasures of expression and superbly nomadic lines amputated of rhyme. Finally, over and above his Poemes Parisiens, where Des Esseintes had discovered this profound definition of woman:

Eternel feminin de l'eternel jocrisse

Tristan Corbiere had celebrated in a powerfully concise style, the Sea of Brittany, mermaids and the Pardon of Saint Anne. And he had even risen to an eloquence of hate in the insults he hurled, apropos of the Conlie camp, at the individuals whom he designated under the name of "foreigners of the Fourth of September."

The raciness of which he was so fond, which Corbiere offered him in his sharp epithets, his beauties which ever remained a trifle suspect, Des Esseintes found again in another poet, Theodore Hannon, a disciple of Baudelaire and Gautier, moved by a very unusual sense of the exquisite and the artificial.

Unlike Verlaine whose work was directly influenced by Baudelaire, especially on the psychological side, in his insidious nuances of thought and skilful quintessence of sentiment, Theodore Hannon especially descended from the master on the plastic side, by the external vision of persons and things.

His charming corruption fatally corresponded to the tendencies of Des Esseintes who, on misty or rainy days, enclosed himself in the retreat fancied by the poet and intoxicated his eyes with the rustlings of his fabrics, with the incandescence of his stones, with his exclusively material sumptuousness which ministered to cerebral reactions, and rose like a cantharides powder in a cloud of fragrant incense toward a Brussel idol with painted face and belly stained by the perfumes.

With the exception of the works of these poets and of Stephane Mallarme, which his servant was told to place to one side so that he might classify them separately, Des Esseintes was but slightly attracted towards the poets.

Notwithstanding the majestic form and the imposing quality of his verse which struck such a brilliant note that even the hexameters of Hugo seemed pale in comparison, Leconte de Lisle could no longer satisfy him. The antiquity so marvelously restored by Flaubert remained cold and immobile in his hands. Nothing palpitated in his verses, which lacked depth and which, most often, contained no idea. Nothing moved in those gloomy, waste poems whose impassive mythologies ended by finally leaving him cold. Too, after having long delighted in Gautier, Des Esseintes reached the point where he no longer cared for him. The admiration he felt for this man's incomparable painting had gradually dissolved; now he was more astonished than ravished by his descriptions. Objects impressed themselves upon Gautier's perceptive eyes but they went no further, they never penetrated deeper into his brain and flesh. Like a giant mirror, this writer constantly limited himself to reflecting surrounding objects with impersonal clearness. Certainly, Des Esseintes still loved the works of these two poets, as he loved rare stones and precious objects, but none of the variations of these perfect instrumentalists could hold him longer, neither being evocative of revery, neither opening for him, at least, broad roads of escape to beguile the tedium of dragging hours.

These two books left him unsatisfied. And it was the same with Hugo; the oriental and patriarchal side was too conventional and barren to detain him. And his manners, at once childish and that of a grandfather, exasperated him. He had to go to the Chansons des rues et des bois to enjoy the perfect acrobatics of his metrics. But how gladly, after all, would he not have exchanged all this tour de force for a new work by Baudelaire which might equal the others, for he, decidedly, was almost the only one whose verses, under their splendid form, contained a healing and nutritive substance. In passing from one extreme to the other, from form deprived of ideas to ideas deprived of form, Des Esseintes remained no less circumspect and cold. The psychological labyrinths of Stendhal, the analytical detours of Duranty seduced him, but their administrative, colorless and arid language, their static prose, fit at best for the wretched industry of the theatre, repelled him. Then their interesting works and their astute analyses applied to brains agitated by passions in which he was no longer interested. He was not at all concerned with general affections or points of view, with associations of common ideas, now that the reserve of his mind was more keenly developed and that he no longer admitted aught but superfine sensations and catholic or sensual torments. To enjoy a work which should combine, according to his wishes, incisive style with penetrating and feline analysis, he had to go to the master of induction, the profound and strange Edgar Allen Poe, for whom, since the time when he re-read him, his preference had never wavered.

More than any other, perhaps, he approached, by his intimate affinity, Des Esseintes' meditative cast of mind.

If Baudelaire, in the hieroglyphics of the soul, had deciphered the return of the age of sentiment and ideas, Poe, in the field of morbid psychology had more especially investigated the domain of the soul.

Under the emblematic title, The Demon of Perversity, he had been the first in literature to pry into the irresistible, unconscious impulses of the will which mental pathology now explains more scientifically. He had also been the first to divulge, if not to signal the impressive influence of fear which acts on the will like an anaesthetic, paralyzing sensibility and like the curare, stupefying the nerves. It was on the problem of the lethargy of the will, that Poe had centered his studies, analyzing the effects of this moral poison, indicating the symptoms of its progress, the troubles commencing with anxiety, continuing through anguish, ending finally in the terror which deadens the will without intelligence succumbing, though sorely disturbed. Death, which the dramatists had so much abused, he had in some manner changed and made more poignant, by introducing an algebraic and superhuman element; but in truth, it was less the real agony of the dying person which he described and more the moral agony of the survivor, haunted at the death bed by monstrous hallucinations engendered by grief and fatigue. With a frightful fascination, he dwelt on acts of terror, on the snapping of the will, coldly reasoning about them, little by little making the reader gasp, suffocated and panting before these feverish mechanically contrived nightmares.

Convulsed by hereditary neurosis, maddened by a moral St. Vitus dance, Poe's creatures lived only through their nerves; his women, the Morellas and Ligeias, possessed an immense erudition. They were steeped in the mists of German philosophy and the cabalistic mysteries of the old Orient; and all had the boyish and inert breasts of angels, all were sexless.

Baudelaire and Poe, these two men who had often been compared because of their common poetic strain and predilection for the examination of mental maladies, differed radically in the affective conceptions which held such a large place in their works; Baudelaire with his iniquitous and debased loves—cruel loves which made one think of the reprisals of an inquisition; Poe with his chaste, aerial loves, in which the senses played no part, where only the mind functioned without corresponding to organs which, if they existed, remained forever frozen and virgin. This cerebral clinic where, vivisecting in a stifling atmosphere, that spiritual surgeon became, as soon as his attention flagged, a prey to an imagination which evoked, like delicious miasmas, somnambulistic and angelic apparitions, was to Des Esseintes a source of unwearying conjecture. But now that his nervous disorders were augmented, days came when his readings broke his spirit and when, hands trembling, body alert, like the desolate Usher he was haunted by an unreasoning fear and a secret terror.

Thus he was compelled to moderate his desires, and he rarely touched these fearful elixirs, in the same way that he could no longer with impunity visit his red corridor and grow ecstatic at the sight of the gloomy Odilon Redon prints and the Jan Luyken horrors. And yet, when he felt inclined to read, all literature seemed to him dull after these terrible American imported philtres. Then he betook himself to Villiers de L'Isle Adam in whose scattered works he noted seditious observations and spasmodic vibrations, but which no longer gave one, with the exception of his Claire Lenoir, such troubling horror.

This Claire Lenoir which appeared in 1867 in the Revue des lettres et des arts, opened a series of tales comprised under the title of Histoires Moroses where against a background of obscure speculations borrowed from old Hegel, dislocated creatures stirred, Dr. Tribulat Bonhomet, solemn and childish, a Claire Lenoir, farcical and sinister, with blue spectacles, round and large as franc pieces, which covered her almost dead eyes.

This story centered about a simple adultery and ended with an inexpressible terror when Bonhomet, opening Claire's eyelids, as she lies in her death bed, and penetrating them with monstrous plummets, distinctively perceives the reflection of the husband brandishing the lover's decapitated head, while shouting a war song, like a Kanaka.

Based on this more or less just observation that the eyes of certain animals, cows for instance, preserve even to decomposition, like photographic plates, the image of the beings and things their eyes behold at the moment they expire, this story evidently derived from Poe, from whom he appropriated the terrifying and elaborate technique.

This also applied to the Intersigne, which had later been joined to the Contes cruels, a collection of indisputable talent in which was found Vera, which Des Esseintes considered a little masterpiece.

Here, the hallucination was marked with an exquisite tenderness; no longer was it the dark mirages of the American author, but the fluid, warm, almost celestial vision; it was in an identical genre, the reverse of the Beatrices and Legeias, those gloomy and dark phantoms engendered by the inexorable nightmare of opium.

This story also put in play the operations of the will, but it no longer treated of its defeats and helplessness under the effects of fear; on the contrary, it studied the exaltations of the will under the impulse of a fixed idea; it demonstrated its power which often succeeded in saturating the atmosphere and in imposing its qualities on surrounding objects.

Another book by Villiers de L'Isle Adam, Isis, seemed to him curious in other respects. The philosophic medley of Clair Lenoir was evident in this work which offered an unbelievable jumble of verbal and troubled observations, souvenirs of old melodramas, poniards and rope ladders—all the romanticism which Villiers de L'Isle Adam could never rejuvenate in his Elen and Morgane, forgotten pieces published by an obscure man, Sieur Francisque Guyon.

The heroine of this book, Marquise Tullia Fabriana, reputed to have assimilated the Chaldean science of the women of Edgar Allen Poe, and the diplomatic sagacities of Stendhal, had the enigmatic countenance of Bradamante abused by an antique Circe. These insoluble mixtures developed a fuliginous vapor across which philosophic and literary influences jostled, without being able to be regulated in the author's brain when he wrote the prolegomenae of this work which could not have embraced less than seven volumes.

But there was another side to Villiers' temperament. It was piercing and acute in an altogether different sense—a side of forbidding pleasantry and fierce raillery. No longer was it the paradoxical mystifications of Poe, but a scoffing that had in it the lugubrious and savage comedy which Swift possessed. A series of sketches, les Demoiselles de Bienfilatre, l'Affichage celeste, la Machine a gloire, and le Plus beau diner du monde, betrayed a singularly inventive and keenly bantering mind. The whole order of contemporary and utilitarian ideas, the whole commercialized baseness of the age were glorified in stories whose poignant irony transported Des Esseintes.

No other French book had been written in this serious and bitter style. At the most, a tale by Charles Cros, La science de l'amour, printed long ago in the Revue du Monde-Nouveau, could astonish by reason of its chemical whims, by its affected humor and by its coldly facetious observations. But the pleasure to be extracted from the story was merely relative, since its execution was a dismal failure. The firm, colored and often original style of Villiers had disappeared to give way to a mixture scraped on the literary bench of the first-comer.

"Heavens! heavens! how few books are really worth re-reading," sighed Des Esseintes, gazing at the servant who left the stool on which he had been perched, to permit Des Esseintes to survey his books with a single glance.

Des Esseintes nodded his head. But two small books remained on the table. With a sigh, he dismissed the old man, and turned over the leaves of a volume bound in onager skin which had been glazed by a hydraulic press and speckled with silver clouds. It was held together by fly-leaves of old silk damask whose faint patterns held that charm of faded things celebrated by Mallarme in an exquisite poem.

These pages, numbering nine, had been extracted from copies of the two first Parnassian books; it was printed on parchment paper and preceded by this title: Quelques vers de Mallarme, designed in a surprising calligraphy in uncial letters, illuminated and relieved with gold, as in old manuscripts.

Among the eleven poems brought together in these covers, several invited him: Les fenetres, l'epilogue and Azur; but one among them all, a fragment of the Herodiade, held him at certain hours in a spell.

How often, beneath the lamp that threw a low light on the silent chamber, had he not felt himself haunted by this Herodiade who, in the work of Gustave Moreau, was now plunged in gloom revealing but a dim white statue in a brazier extinguished by stones.

The darkness concealed the blood, the reflections and the golds, hid the temple's farther sides, drowned the supernumeraries of the crime enshrouded in their dead colors, and, only sparing the aquerelle whites, revealed the woman's jewels and heightened her nudity.

At such times he was forced to gaze upon her unforgotten outlines; and she lived for him, her lips articulating those bizarre and delicate lines which Mallarme makes her utter:

O miroir! Eau froide par l'ennui dans ton cadre gelee Que de fois, et pendant les heures, desolee Des songes et cherchant mes souvenirs qui sont Comme des feuilles sous ta glace au trou profond, Je m'apparus en toi comme une ombre lointaine! Mais, horreur! des soirs, dans ta severe fontaine, J'ai de mon reve epars connu la nudite!

These lines he loved, as he loved the works of this poet who, in an age of democracy devoted to lucre, lived his solitary and literary life sheltered by his disdain from the encompassing stupidity, delighting, far from society, in the surprises of the intellect, in cerebral visions, refining on subtle ideas, grafting Byzantine delicacies upon them, perpetuating them in suggestions lightly connected by an almost imperceptible thread.

These twisted and precious ideas were bound together with an adhesive and secret language full of phrase contractions, ellipses and bold tropes.

Perceiving the remotest analogies, with a single term which by an effect of similitude at once gave the form, the perfume, the color and the quality, he described the object or being to which otherwise he would have been compelled to place numerous and different epithets so as to disengage all their facets and nuances, had he simply contented himself with indicating the technical name. Thus he succeeded in dispensing with the comparison, which formed in the reader's mind by analogy as soon as the symbol was understood. Neither was the attention of the reader diverted by the enumeration of the qualities which the juxtaposition of adjectives would have induced. Concentrating upon a single word, he produced, as for a picture, the ensemble, a unique and complete aspect.

It became a concentrated literature, an essential unity, a sublimate of art. This style was at first employed with restraint in his earlier works, but Mallarme had boldly proclaimed it in a verse on Theophile Gautier and in l'Apres-midi du faune, an eclogue where the subtleties of sensual joys are described in mysterious and caressing verses suddenly pierced by this wild, rending faun cry:

Alors m'eveillerai-je a la ferveur premiere, Droit et seul sous un flot antique de lumiere, Lys! et l'un de vous tous pour l'ingenuite.

That line with the monosyllable lys like a sprig, evoked the image of something rigid, slender and white; it rhymed with the substantive ingenuite, allegorically expressing, by a single term, the passion, the effervescence, the fugitive mood of a virgin faun amorously distracted by the sight of nymphs.

In this extraordinary poem, surprising and unthought of images leaped up at the end of each line, when the poet described the elations and regrets of the faun contemplating, at the edge of a fen, the tufts of reeds still preserving, in its transitory mould, the form made by the naiades who had occupied it.

Then, Des Esseintes also experienced insidious delights in touching this diminutive book whose cover of Japan vellum, as white as curdled milk, were held together by two silk bands, one of Chinese rose, the other of black.

Hidden behind the cover, the black band rejoined the rose which rested like a touch of modern Japanese paint or like a lascivious adjutant against the antique white, against the candid carnation tint of the book, and enlaced it, united its sombre color with the light color into a light rosette. It insinuated a faint warning of that regret, a vague menace of that sadness which succeeds the ended transports and the calmed excitements of the senses.

Des Esseintes placed l'Apres-midi du faune on the table and examined another little book he had printed, an anthology of prose poems, a tiny chapel, placed under the invocation of Baudelaire and opening on the parvise of his poems.

This anthology comprised a selection of Gaspard de la nuit of that fantastic Aloysius Bertrand who had transferred the behavior of Leonard in prose and, with his metallic oxydes, painted little pictures whose vivid colors sparkle like those of clear enamels. To this, Des Esseintes had joined le Vox populi of Villiers, a superb piece of work in a hammered, golden style after the manner of Leconte de Lisle and of Flaubert, and some selections from that delicate livre de Jade whose exotic perfume of ginseng and of tea blends with the odorous freshness of water babbling along the book, under moonlight.

But in this collection had been gathered certain poems resurrected from defunct reviews: le Demon de l'analogie, la Pipe, le Pauvre enfant pale, le Spectacle interrompu, le Phenomene futur, and especially Plaintes d'automne and Frisson d'hiver which were Mallarme's masterpieces and were also celebrated among the masterpieces of prose poems, for they united such a magnificently delicate language that they cradled, like a melancholy incantation or a maddening melody, thoughts of an irresistible suggestiveness, pulsations of the soul of a sensitive person whose excited nerves vibrate with a keenness which penetrates ravishingly and induces a sadness.

Of all the forms of literature, that of the prose poem was the form Des Esseintes preferred. Handled by an alchemist of genius, it contained in its slender volume the strength of the novel whose analytic developments and descriptive redundancies it suppressed. Quite often, Des Esseintes had meditated on that disquieting problem—to write a novel concentrated in a few phrases which should contain the essence of hundreds of pages always employed to establish the setting, to sketch the characters, and to pile up observations and minute details. Then the chosen words would be so unexchangeable that they would do duty for many others, the adjective placed in such an ingenious and definite fashion that it could not be displaced, opening such perspectives that the reader could dream for whole weeks on its sense at once precise and complex, could record the present, reconstruct the past, divine the future of the souls of the characters, revealed by the gleams of this unique epithet.

Thus conceived and condensed in a page or two, the novel could become a communion of thought between a magical writer and an ideal reader, a spiritual collaboration agreed to between ten superior persons scattered throughout the universe, a delight offered to the refined, and accessible to them alone.

To Des Esseintes, the prose poem represented the concrete juice of literature, the essential oil of art.

That succulence, developed and concentrated into a drop, already existed in Baudelaire and in those poems of Mallarme which he read with such deep joy.

When he had closed his anthology, Des Esseintes told himself that his books which had ended on this last book, would probably never have anything added to it.

In fact, the decadence of a literature, irreparably affected in its organism, enfeebled by old ideas, exhausted by excesses of syntax, sensitive only to the curiosities which make sick persons feverish, and yet intent upon expressing everything in its decline, eager to repair all the omissions of enjoyment, to bequeath the most subtle memories of grief in its death bed, was incarnate in Mallarme, in the most perfect exquisite manner imaginable.

Here were the quintessences of Baudelaire and of Poe; here were their fine and powerful substances distilled and disengaging new flavors and intoxications.

It was the agony of the old language which, after having become moldy from age to age, ended by dissolving, by reaching that deliquescence of the Latin language which expired in the mysterious concepts and the enigmatical expressions of Saint Boniface and Saint Adhelme.

The decomposition of the French language had been effected suddenly. In the Latin language, a long transition, a distance of four hundred years existed between the spotted and superb epithet of Claudian and Rutilius and the gamy epithet of the eighth century. In the French language, no lapse of time, no succession of ages had taken place; the stained and superb style of the de Goncourts and the gamy style of Verlaine and Mallarme jostled in Paris, living in the same period, epoch and century.

And Des Esseintes, gazing at one of the folios opened on his chapel desk, smiled at the thought that the moment would soon come when an erudite scholar would prepare for the decadence of the French language a glossary similar to that in which the savant, Du Cange, has noted the last murmurings, the last spasms, the last flashes of the Latin language dying of old age in the cloisters and sounding its death rattle.



Chapter 15

Burning at first like a rick on fire, his enthusiasm for the digester as quickly died out. Torpid at first, his nervous dyspepsia reappeared, and then this hot essence induced such an irritation in his stomach that Des Esseintes was quickly compelled to stop using it.

The malady increased in strength; peculiar symptoms attended it. After the nightmares, hallucinations of smell, pains in the eye and deep coughing which recurred with clock-like regularity, after the pounding of his heart and arteries and the cold perspiration, arose illusions of hearing, those alterations which only reveal themselves in the last period of sickness.

Attacked by a strong fever, Des Esseintes suddenly heard murmurings of water; then those sounds united into one and resembled a roaring which increased and then slowly resolved itself into a silvery bell sound.

He felt his delirious brain whirling in musical waves, engulfed in the mystic whirlwinds of his infancy. The songs learned at the Jesuits reappeared, bringing with them pictures of the school and the chapel where they had resounded, driving their hallucinations to the olfactory and visual organs, veiling them with clouds of incense and the pallid light irradiating through the stained-glass windows, under the lofty arches.

At the Fathers, the religious ceremonies had been practiced with great pomp. An excellent organist and remarkable singing director made an artistic delight of these spiritual exercises that were conducive to worship. The organist was in love with the old masters and on holidays celebrated masses by Palestrina and Orlando Lasso, psalms by Marcello, oratorios by Handel, motets by Bach; he preferred to render the sweet and facile compilations of Father Lambillotte so much favored by priests, the "Laudi Spirituali" of the sixteenth century whose sacerdotal beauty had often bewitched Des Esseintes.

But he particularly extracted ineffable pleasures while listening to the plain-chant which the organist had preserved regardless of new ideas.

That form which was now considered a decrepit and Gothic form of Christian liturgy, an archaeological curiosity, a relic of ancient time, had been the voice of the early Church, the soul of the Middle Age. It was the eternal prayer that had been sung and modulated in harmony with the soul's transports, the enduring hymn uplifted for centuries to the Almighty.

That traditional melody was the only one which, with its strong unison, its solemn and massive harmonies, like freestone, was not out of place with the old basilicas, making eloquent the Romanesque vaults, whose emanation and very spirit they seemed to be.

How often had Des Esseintes not thrilled under its spell, when the "Christus factus est" of the Gregorian chant rose from the nave whose pillars seemed to tremble among the rolling clouds from censers, or when the "De Profundis" was sung, sad and mournful as a suppressed sob, poignant as a despairing invocation of humanity bewailing its mortal destiny and imploring the tender forgiveness of its Savior!

All religious music seemed profane to him compared with that magnificent chant created by the genius of the Church, anonymous as the organ whose inventor is unknown. At bottom, in the works of Jomelli and Porpora, Carissimi and Durante, in the most wonderful compositions of Handel and Bach, there was never a hint of a renunciation of public success, or the sacrifice of an effect of art, or the abdication of human pride hearkening to its own prayer.

At the most, the religious style, august and solemn, had crystallized in Lesueur's imposing masses celebrated at Saint-Roch, tending to approach the severe nudity and austere majesty of the old plain-chant.

Since then, absolutely revolted by these pretexts at Stabat Maters devised by the Pergolesis and the Rossinis, by this intrusion of profane art in liturgic art, Des Esseintes had shunned those ambiguous works tolerated by the indulgent Church.

In addition, this weakness brought about by the desire for large congregations had quickly resulted in the adoption of songs borrowed from Italian operas, of low cavatinas and indecent quadrilles played in churches converted to boudoirs and surrendered to stage actors whose voices resounded aloft, their impurity tainting the tones of the holy organ.

For years he had obstinately refused to take part in these pious entertainments, contenting himself with his memories of childhood. He even regretted having heard the Te Deum of the great masters, for he remembered that admirable plain-chant, that hymn so simple and solemn composed by some unknown saint, a Saint Ambrose or Hilary who, lacking the complicated resources of an orchestra and the musical mechanics of modern science, revealed an ardent faith, a delirious jubilation, uttered, from the soul of humanity, in the piercing and almost celestial accents of conviction.

Des Esseintes' ideas on music were in flagrant contradiction with the theories he professed regarding the other arts. In religious music, he approved only of the monastic music of the Middle Ages, that emaciated music which instinctively reacted on his nerves like certain pages of the old Christian Latin. Then (he freely confessed it) he was incapable of understanding the tricks that the contemporary masters had introduced into Catholic art. And he had not studied music with that passion which had led him towards painting and letters. He played indifferently on the piano and after many painful attempts had succeeded in reading a score, but he was ignorant of harmony, of the technique needed really to understand a nuance, to appreciate a finesse, to savor a refinement with full comprehension.

In other respects, when not read in solitude, profane music is a promiscuous art. To enjoy music, one must become part of that public which fills the theatres where, in a vile atmosphere, one perceives a loutish-looking man butchering episodes from Wagner, to the huge delight of the ignorant mob.

He had always lacked the courage to plunge in this mob-bath so as to listen to Berlioz' compositions, several fragments of which had bewitched him by their passionate exaltations and their vigorous fugues, and he was certain that there was not one single scene, not even a phrase of one of the operas of the amazing Wagner which could with impunity be detached from its whole.

The fragments, cut and served on the plate of a concert, lost all significance and remained senseless, since (like the chapters of a book, completing each other and moving to an inevitable conclusion) Wagner's melodies were necessary to sketch the characters, to incarnate their thoughts and to express their apparent or secret motives. He knew that their ingenious and persistent returns were understood only by the auditors who followed the subject from the beginning and gradually beheld the characters in relief, in a setting from which they could not be removed without dying, like branches torn from a tree.

That was why he felt that, among the vulgar herd of melomaniacs enthusing each Sunday on benches, scarcely any knew the score that was being massacred, when the ushers consented to be silent and permit the orchestra to be heard.

Granted also that intelligent patriotism forbade a French theatre to give a Wagnerian opera, the only thing left to the curious who know nothing of musical arcana and either cannot or will not betake themselves to Bayreuth, is to remain at home. And that was precisely the course of conduct he had pursued.

The more public and facile music and the independent pieces of the old operas hardly interested him; the wretched trills of Auber and Boieldieu, of Adam and Flotow and the rhetorical commonplaces of Ambroise Thomas and the Bazins disgusted him as did the superannuated affectations and vulgar graces of Italians. That was why he had resolutely broken with musical art, and during the years of his abstention, he pleasurably recalled only certain programs of chamber music when he had heard Beethoven, and especially Schumann and Schubert which had affected his nerves in the same manner as had the more intimate and troubling poems of Edgar Allen Poe.

Some of Schubert's parts for violoncello had positively left him panting, in the grip of hysteria. But it was particularly Schubert's lieders that had immeasurably excited him, causing him to experience similar sensations as after a waste of nervous fluid, or a mystic dissipation of the soul.

This music penetrated and drove back an infinity of forgotten sufferings and spleen in his heart. He was astonished at being able to contain so many dim miseries and vague griefs. This desolate music, crying from the inmost depths, terrified while charming him. Never could he repeat the "Young Girl's Lament" without a welling of tears in his eyes, for in this plaint resided something beyond a mere broken-hearted state; something in it clutched him, something like a romance ending in a gloomy landscape.

And always, when these exquisite, sad plaints returned to his lips, there was evoked for him a suburban, flinty and gloomy site where a succession of silent bent persons, harassed by life, filed past into the twilight, while, steeped in bitterness and overflowing with disgust, he felt himself solitary in this dejected landscape, struck by an inexpressibly melancholy and stubborn distress whose mysterious intensity excluded all consolation, pity and repose. Like a funeral-knell, this despairing chant haunted him, now that he was in bed, prostrated by fever and agitated by an anxiety so much the more inappeasable for the fact that he could not discover its cause. He ended by abandoning himself to the torrent of anguishes suddenly dammed by the chant of psalms slowly rising in his tortured head.

One morning, nevertheless, he felt more tranquil and requested the servant to bring a looking-glass. It fell from his hands. He hardly recognized himself. His face was a clay color, the lips bloated and dry, the tongue parched, the skin rough. His hair and beard, untended since his illness by the domestic, added to the horror of the sunken face and staring eyes burning with feverish intensity in this skeleton head that bristled with hair. More than his weakness, more than his vomitings which began with each attempt at taking nourishment, more than his emaciation, did his changed visage terrify him. He felt lost. Then, in the dejection which overcame him, a sudden energy forced him in a sitting posture. He had strength to write a letter to his Paris physician and to order the servant to depart instantly, seek and bring him back that very day.

He passed suddenly from complete depression into boundless hope. This physician was a celebrated specialist, a doctor renowned for his cures of nervous maladies "He must have cured many more dangerous cases than mine," Des Esseintes reflected. "I shall certainly be on my feet in a few days." Disenchantment succeeded his confidence. Learned and intuitive though they be, physicians know absolutely nothing of neurotic diseases, being ignorant of their origins. Like the others, this one would prescribe the eternal oxyde of zinc and quinine, bromide of potassium and valerian. He had recourse to another thought: "If these remedies have availed me little in the past, could it not be due to the fact that I have not taken the right quantities?"

In spite of everything, this expectation of being cured cheered him, but then a new fear entered. His servant might have failed to find the physician. Again he grew faint, passing instantly from the most unreasoning hopes to the most baseless fears, exaggerating the chances of a sudden recovery and his apprehensions of danger. The hours passed and the moment came when, in utter despair and convinced that the physician would not arrive, he angrily told himself that he certainly would have been saved, had he acted sooner. Then his rage against the servant and the physician whom he accused of permitting him to die, vanished, and he ended by reproaching himself for having waited so long before seeking aid, persuading himself that he would now be wholly cured had he that very last evening used the medicine.

Little by little, these alternations of hope and alarms jostling in his poor head, abated. The struggles ended by crushing him, and he relapsed into exhausted sleep interrupted by incoherent dreams, a sort of syncope pierced by awakenings in which he was barely conscious of anything. He had reached such a state where he lost all idea of desires and fears, and he was stupefied, experiencing neither astonishment or joy, when the physician suddenly arrived.

The doctor had doubtless been apprised by the servant of Des Esseintes' mode of living and of the various symptoms observed since the day when the master of the house had been found near the window, overwhelmed by the violence of perfumes. He put very few questions to the patient whom he had known for many years. He felt his pulse and attentively studied the urine where certain white spots revealed one of the determining causes of nervousness. He wrote a prescription and left without saying more than that he would soon return.

This visit comforted Des Esseintes who none the less was frightened by the taciturnity observed; he adjured his servant not to conceal the truth from him any longer. But the servant declared that the doctor had exhibited no uneasiness, and despite his suspicions, Des Esseintes could seize upon no sign that might betray a shadow of a lie on the tranquil countenance of the old man.

Then his thoughts began to obsess him less; his suffering disappeared and to the exhaustion he had felt throughout his members was grafted a certain indescribable languor. He was astonished and satisfied not to be weighted with drugs and vials, and a faint smile played on his lips when the servant brought a nourishing injection of peptone and told him he was to take it three times every twenty-four hours.

The operation succeeded and Des Esseintes could not forbear to congratulate himself on this event which in a manner crowned the existence he had created. His penchant towards the artificial had now, though involuntarily, reached the supreme goal.

Farther one could not go. The nourishment thus absorbed was the ultimate deviation one could possibly commit.

"How delicious it would be" he reflected, "to continue this simple regime in complete health! What economy of time, what a pronounced deliverance from the aversion which food gives those who lack appetite! What a complete riddance from the disgust induced by food forcibly eaten! What an energetic protestation against the vile sin of gluttony, what a positive insult hurled at old nature whose monotonous demands would thus be avoided."

And he continued, talking to himself half-aloud. One could easily stimulate desire for food by swallowing a strong aperitif. After the question, "what time is it getting to be? I am famished," one would move to the table and place the instrument on the cloth, and then, in the time it takes to say grace, one could have suppressed the tiresome and vulgar demands of the body.

Several days afterwards, the servant presented an injection whose color and odor differed from the other.

"But it is not the same at all!" Des Esseintes cried, gazing with deep feeling at the liquid poured into the apparatus. As if in a restaurant, he asked for the card, and unfolding the physician's prescription, read:

Cod Liver Oil . . . . . . . . 20 grammes Beef Tea . . . . . . . . . . 200 grammes Burgundy Wine . . . . . . . . 200 grammes Yolk of one egg.

He remained meditative. He who by reason of the weakened state of his stomach had never seriously preoccupied himself with the art of the cuisine, was surprised to find himself thinking of combinations to please an artificial epicure. Then a strange idea crossed his brain. Perhaps the physician had imagined that the strange palate of his patient was fatigued by the taste of the peptone; perhaps he had wished, like a clever chef, to vary the taste of foods and to prevent the monotony of dishes that might lead to want of appetite. Once in the wake of these reflections, Des Esseintes sketched new recipes, preparing vegetable dinners for Fridays, using the dose of cod liver oil and wine, dismissing the beef tea as a meat food specially prohibited by the Church. But he had no occasion longer to ruminate on these nourishing drinks, for the physician succeeded gradually in curing the vomiting attacks, and he was soon swallowing, in the normal manner, a syrup of punch containing a pulverized meat whose faint aroma of cacao pleased his palate.

Weeks passed before his stomach decided to function. The nausea returned at certain moments, but these attacks were disposed of by ginger ale and Rivieres' antiemetic drink.

Finally the organs were restored. Meats were digested with the aid of pepsines. Recovering strength, he was able to stand up and attempt to walk, leaning on a cane and supporting himself on the furniture. Instead of being thankful over his success, he forgot his past pains, grew irritated at the length of time needed for convalescence and reproached the doctor for not effecting a more rapid cure.

At last the day came when he could remain standing for whole afternoons. Then his study irritated him. Certain blemishes it possessed, and which habit had accustomed him to overlook, now were apparent. The colors chosen to be seen by lamp-light seemed discordant in full day. He thought of changing them and for whole hours he combined rebellious harmonies of hues, hybrid pairings of cloth and leathers.

"I am certainly on the road to recovery," he reflected, taking note of his old hobbies.

One morning, while contemplating his orange and blue walls, considering some ideal tapestries worked with stoles of the Greek Church, dreaming of Russian orphrey dalmaticas and brocaded copes flowered with Slavonic letters done in Ural stones and rows of pearls, the physician entered and, noticing the patient's eyes, questioned him.

Des Esseintes spoke of his unrealizable longings. He commenced to contrive new color schemes, to talk of harmonies and discords of tones he meant to produce, when the doctor stunned him by peremptorily announcing that these projects would never be executed here.

And, without giving him time to catch breath, he informed Des Esseintes that he had done his utmost in re-establishing the digestive functions and that now it was necessary to attack the neurosis which was by no means cured and which would necessitate years of diet and care. He added that before attempting a cure, before commencing any hydrotherapic treatment, impossible of execution at Fontenay, Des Esseintes must quit that solitude, return to Paris, and live an ordinary mode of existence by amusing himself like others.

"But the pleasures of others will not amuse me," Des Esseintes indignantly cried.

Without debating the matter, the doctor merely asserted that this radical change was, in his eyes, a question of life or death, a question of health or insanity possibly complicated in the near future by tuberculosis.

"So it is a choice between death and the hulks!" Des Esseintes exasperatedly exclaimed.

The doctor, who was imbued with all the prejudices of a man of the world, smiled and reached the door without saying a word.



Chapter 16

Des Esseintes locked himself up in his bedroom, closing his ears to the sounds of hammers on packing cases. Each stroke rent his heart, drove a sorrow into his flesh. The physician's order was being fulfilled; the fear of once more submitting to the pains he had endured, the fear of a frightful agony had acted more powerfully on Des Esseintes than the hatred of the detestable existence to which the medical order condemned him.

Yet he told himself there were people who live without conversing with anyone, absorbed far from the world in their own affairs, like recluses and trappists, and there is nothing to prove that these wretches and sages become madmen or consumptives. He had unsuccessfully cited these examples to the doctor; the latter had repeated, coldly and firmly, in a tone that admitted of no reply, that his verdict, (confirmed besides by consultation with all the experts on neurosis) was that distraction, amusement, pleasure alone might make an impression on this malady whose spiritual side eluded all remedy; and made impatient by the recriminations of his patient, he for the last time declared that he would refuse to continue treating him if he did not consent to a change of air, and live under new hygienic conditions.

Des Esseintes had instantly betaken himself to Paris, had consulted other specialists, had impartially put the case before them. All having unhesitatingly approved of the action of their colleague, he had rented an apartment in a new house, had returned to Fontenay and, white with rage, had given orders to have his trunks packed.

Sunk in his easy chair, he now ruminated upon that unyielding order which was wrecking his plans, breaking the strings of his present life and overturning his future plans. His beatitude was ended. He was compelled to abandon this sheltering haven and return at full speed into the stupidity which had once attacked him.

The physicians spoke of amusement and distraction. With whom, and with what did they wish him to distract and amuse himself?

Had he not banished himself from society? Did he know a single person whose existence would approximate his in seclusion and contemplation? Did he know a man capable of appreciating the fineness of a phrase, the subtlety of a painting, the quintessence of an idea,—a man whose soul was delicate and exquisite enough to understand Mallarme and love Verlaine?

Where and when must he search to discover a twin spirit, a soul detached from commonplaces, blessing silence as a benefit, ingratitude as a solace, contempt as a refuge and port?

In the world where he had dwelt before his departure for Fontenay? But most of the county squires he had associated with must since have stultified themselves near card tables or ended upon the lips of women; most by this time must have married; after having enjoyed, during their life, the spoils of cads, their spouses now possessed the remains of strumpets, for, master of first-fruits, the people alone waste nothing.

"A pretty change—this custom adopted by a prudish society!" Des Esseintes reflected.

The nobility had died, the aristocracy had marched to imbecility or ordure! It was extinguished in the corruption of its descendants whose faculties grew weaker with each generation and ended in the instincts of gorillas fermented in the brains of grooms and jockeys; or rather, as with the Choiseul-Praslins, Polignacs and Chevreuses, wallowed in the mud of lawsuits which made it equal the other classes in turpitude.

The mansions themselves, the secular escutcheons, the heraldic deportment of this antique caste had disappeared. The land no longer yielding anything was put up for sale, money being needed to procure the venereal witchcraft for the besotted descendants of the old races.

The less scrupulous and stupid threw aside all sense of shame. They weltered in the mire of fraud and deceit, behaved like cheap sharpers.

This eagerness for gain, this lust for lucre had even reacted on that other class which had constantly supported itself on the nobility—the clergy. Now one perceived, in newspapers, announcements of corn cures by priests. The monasteries had changed into apothecary or liqueur workrooms. They sold recipes or manufactured products: the Citeaux order, chocolate; the trappists, semolina; the Maristes Brothers, biphosphate of medicinal lime and arquebuse water; the jacobins, an anti-apoplectic elixir; the disciples of Saint Benoit, benedictine; the friars of Saint Bruno, chartreuse.

Business had invaded the cloisters where, in place of antiphonaries, heavy ledgers reposed on reading-desks. Like leprosy, the avidity of the age was ravaging the Church, weighing down the monks with inventories and invoices.

And yet, in spite of everything, it was only among the ecclesiastics that Des Esseintes could hope for pleasurable contract. In the society of well-bred and learned canons, he would have been compelled to share their faith, to refrain from floating between sceptical ideas and transports of conviction which rose from time to time on the water, sustained by recollections of childhood.

He would have had to muster identical opinions and never admit (he freely did in his ardent moments) a Catholicism charged with a soupcon of magic, as under Henry the Third, and with a dash of sadism, as at the end of the last century. This special clericalism, this depraved and artistically perverse mysticism towards which he wended could not even be discussed with a priest who would not have understood them or who would have banished them with horror.

For the twentieth time, this irresolvable problem troubled him. He would have desired an end to this irresolute state in which he floundered. Now that he was pursuing a changed life, he would have liked to possess faith, to incrust it as soon as seized, to screw it into his soul, to shield it finally from all those reflections which uprooted and agitated it. But the more he desired it and the less his emptiness of spirit was evident, the more Christ's visitation receded. As his religious hunger augmented and he gazed eagerly at this faith visible but so far off that the distance terrified him, ideas pressed upon his active mind, driving back his will, rejecting, by common sense and mathematical proofs, the mysteries and dogmas. He sadly told himself that he would have to find a way to abstain from self-discussion. He would have to learn how to close his eyes and let himself be swept along by the current, forgetting those accursed discoveries which have destroyed the religious edifice, from top to bottom, since the last two centuries.

He sighed. It is neither the physiologists nor the infidels that demolish Catholicism, but the priests, whose stupid works could extirpate convictions the most steadfast.

A Dominican friar, Rouard de Card, had proved in a brochure entitled "On the Adulteration of Sacramental Substances" that most masses were not valid, because the elements used for worship had been adulterated by the manufacturers.

For years, the holy oils had been adulterated with chicken fat; wax, with burned bones; incense, with cheap resin and benzoin. But the thing that was worse was that the substances, indispensable to the holy sacrifice, the two substances without which no oblation is possible, had also been debased: the wine, by numerous dilutions and by illicit introductions of Pernambuco wood, danewort berries, alcohol and alum; the bread of the Eucharist that must be kneaded with the fine flour of wheat, by kidney beans, potash and pipe clay.

But they had gone even farther. They had dared suppress the wheat and shameless dealers were making almost all the Host with the fecula of potatoes.

Now, God refused to descend into the fecula. It was an undeniable fact and a certain one. In the second volume of his treatise on moral theology, Cardinal Gousset had dwelt at length on this question of the fraud practiced from the divine point of view. And, according to the incontestable authority of this master, one could not consecrate bread made of flour of oats, buckwheat or barley, and if the matter of using rye be less doubtful, no argument was possible in regard to the fecula which, according to the ecclesiastic expression, was in no way fit for sacramental purposes.

By means of the rapid manipulation of the fecula and the beautiful appearance presented by the unleavened breads created with this element, the shameless imposture had been so propagated that now the mystery of the transubstantiation hardly existed any longer and the priests and faithful were holding communion, without being aware of it, with neutral elements.

Ah! far off was the time when Radegonda, Queen of France, had with her own hands prepared the bread destined for the alters, or the time when, after the customs of Cluny, three priests or deacons, fasting and garbed in alb and amice, washed their faces and hands and then picked out the wheat, grain by grain, grinding it under millstone, kneading the paste in a cold and pure water and themselves baking it under a clear fire, while chanting psalms.

"All this matter of eternal dupery," Des Esseintes reflected, "is not conducive to the steadying of my already weakened faith. And how admit that omnipotence which stops at such a trifle as a pinch of fecula or a soupcon of alcohol?"

These reflections all the more threw a gloom over the view of his future life and rendered his horizon more menacing and dark.

He was lost, utterly lost. What would become of him in this Paris where he had neither family nor friends? No bond united him to the Saint-Germain quarters now in its dotage, scaling into the dust of desuetude, buried in a new society like an empty husk. And what contact could exist between him and that bourgeois class which had gradually climbed up, profiting by all the disasters to grow rich, making use of all the catastrophes to impose respect on its crimes and thefts.

After the aristocracy of birth had come the aristocracy of money. Now one saw the reign of the caliphates of commerce, the despotism of the rue du Sentier, the tyranny of trade, bringing in its train venal narrow ideas, knavish and vain instincts.

Viler and more dishonest than the nobility despoiled and the decayed clergy, the bourgeoisie borrowed their frivolous ostentations, their braggadoccio, degrading these qualities by its lack of savoir-vivre; the bourgeoisie stole their faults and converted them into hypocritical vices. And, authoritative and sly, low and cowardly, it pitilessly attacked its eternal and necessary dupe, the populace, unmuzzled and placed in ambush so as to be in readiness to assault the old castes.

It was now an acknowledged fact. Its task once terminated, the proletariat had been bled, supposedly as a measure of hygiene. The bourgeoisie, reassured, strutted about in good humor, thanks to its wealth and the contagion of its stupidity. The result of its accession to power had been the destruction of all intelligence, the negation of all honesty, the death of all art, and, in fact, the debased artists had fallen on their knees, and they eagerly kissed the dirty feet of the eminent jobbers and low satraps whose alms permitted them to live.

In painting, one now beheld a deluge of silliness; in literature, an intemperate mixture of dull style and cowardly ideas, for they had to credit the business man with honesty, the buccaneer who purchased a dot for his son and refused to pay that of his daughter, with virtue; chaste love to the Voltairian agnostic who accused the clergy of rapes and then went hypocritically and stupidly to sniff, in the obscene chambers.

It was the great American hulks transported to our continent. It was the immense, the profound, the incommensurable peasantry of the financier and the parvenu, beaming, like a pitiful sun, upon the idolatrous town which wallowed on the ground the while it uttered impure psalms before the impious tabernacle of banks.

"Well, then, society, crash to ruin! Die, aged world!" cried Des Esseintes, angered by the ignominy of the spectacle he had evoked. This cry of hate broke the nightmare that oppressed him.

"Ah!" he exclaimed, "To think that all this is not a dream, to think that I am going to return into the cowardly and servile crowd of this century!" To console himself, he recalled the comforting maxims of Schopenhauer, and repeated to himself the sad axiom of Pascal: "The soul is pained by all things it thinks upon." But the words resounded in his mind like sounds deprived of sense; his ennui disintegrated, lifting all significance from the words, all healing virtue, all effective and gentle vigor.

He came at last to perceive that the reasonings of pessimism availed little in comforting him, that impossible faith in a future life alone would pacify him.

An access of rage swept aside, like a hurricane, his attempts at resignation and indifference. He could no longer conceal the hideous truth—nothing was left, all was in ruins. The bourgeoisie were gormandizing on the solemn ruins of the Church which had become a place of rendez-vous, a mass of rubbish, soiled by petty puns and scandalous jests. Were the terrible God of Genesis and the Pale Christ of Golgotha not going to prove their existence by commanding the cataclysms of yore, by rekindling the flames that once consumed the sinful cities? Was this degradation to continue to flow and cover with its pestilence the old world planted with seeds of iniquities and shames?

The door was suddenly opened. Clean-shaved men appeared, bringing chests and carrying the furniture; then the door closed once more on the servant who was removing packages of books.

Des Esseintes sank into a chair.

"I shall be in Paris in two days. Well, all is finished. The waves of human mediocrity rise to the sky and they will engulf the refuge whose dams I open. Ah! courage leaves me, my heart breaks! O Lord, pity the Christian who doubts, the sceptic who would believe, the convict of life embarking alone in the night, under a sky no longer illumined by the consoling beacons of ancient faith."

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