The Revolt of the Angels
- -
- 100%
- +
"The following century was the century of philosophy. The spirit of research was developed, reverence was lost; the pride of the flesh was diminished and the mind acquired fresh energy. Manners took on an elegance until then unknown. On the other hand, the monks of my order grew more and more ignorant and dirty, and the monastery no longer offered me any advantage now that good manners reigned in the town. I could bear it no longer. Flinging my habit to the nettles, I put a powdered wig on my horned brow, hid my goat's legs under white stockings, and cane in hand, my pockets stuffed with gazettes, I frequented the fashionable world, visited the modish promenades, and showed myself assiduously in the cafés where men of letters were to be found. I was made welcome in salons where, as a happy novelty, there were arm-chairs that fitted the form, and where both men and women engaged in rational conversation.
"The very metaphysicians spoke intelligibly. I acquired great weight in the town as an authority on matters of exegesis, and, without boasting, I was largely responsible for the Testament of the curé Meslier and The Bible Explained, brought out by the chaplains to the King of Prussia.
"At this time a comic and cruel misadventure befel the ancient Iahveh. An American Quaker, by means of a kite, stole his thunderbolts.
"I was living in Paris, and was at the supper where they talked of strangling the last of the priests with the entrails of the last of the kings. France was in a ferment; a terrible revolution broke out. The ephemeral leaders of the disordered State carried on a Reign of Terror amidst unheard-of perils. They were, for the most part, less pitiless and less cruel than the princes and judges instituted by Iahveh in the kingdoms of the earth; nevertheless, they appeared more ferocious, because they gave judgment in the name of Humanity. Unhappily they were easily moved to pity and of great sensibility. Now men of sensibility are irritable and subject to fits of fury. They were virtuous; they had moral laws, that is to say they conceived certain narrowly defined moral obligations, and judged human actions not by their natural consequences but by abstract principles. Of all the vices which contribute to the undoing of a statesman, virtue is the most fatal; it leads to murder. To work effectively for the happiness of mankind, a man must be superior to all morals, like the divine Julius. God, so ill-used for some time past, did not, on the whole, suffer excessively harsh treatment from these new men. He found protectors among them, and was adored under the name of the Supreme Being. One might even go so far as to say that terror created a diversion from philosophy and was profitable to the old demiurge, in that he appeared to represent order, public tranquillity, and the security of person and property.
"While Liberty was coming to birth amid the storm, I lived at Auteuil, and visited Madame Helvetius, where freethinkers in every branch of intellectual activity were to be met with. Nothing could be rarer than a freethinker, even after Voltaire's day. A man who will face death without trembling dare not say anything out of the ordinary about morals. That very same respect for Humanity which prompts him to go forth to his death, makes him bow to public opinion. In those days I enjoyed listening to the talk of Volney, Cabanis, and Tracy. Disciples of the great Condillac, they regarded the senses as the origin of all our knowledge. They called themselves ideologists, were the most honourable people in the world, and grieved the vulgar minds by refusing them immortality. For the majority of people, though they do not know what to do with this life, long for another that shall have no end. During the turmoil, our small philosophical society was sometimes disturbed in the peaceful shades of Auteuil by patrols of patriots. Condorcet, our great man, was an outlaw. I myself was regarded as suspect by the friends of the people, who, in spite of my rustic appearance and my frieze coat, believed me to be an aristocrat, and I confess that independence of thought is the proudest of all aristocracies.
"One evening while I was stealthily watching the dryads of Boulogne, who gleamed amid the leaves like the moon rising above the horizon, I was arrested as a suspect, and put in prison. It was a pure misunderstanding; but the Jacobins of those days, like the monks whose place they had usurped, laid great stress on unity of obedience. After the death of Madame Helvetius our society gathered together in the salon of Madame de Condorcet. Bonaparte did not disdain to chat with us sometimes.
"Recognizing him to be a great man, we thought him an ideologist like ourselves. Our influence in the land was considerable. We used it in his favour, and urged him towards the Imperial throne, thinking to display to the world a second Marcus Aurelius. We counted on him to establish universal peace; he did not fulfil our expectations, and we were wrong-headed enough to be wroth with him for our own mistake.
"Without any doubt he greatly surpassed all other men in quickness of intelligence, depth of dissimulation, and capacity for action. What made him an accomplished ruler was that he lived entirely in the present moment, and had no thoughts for anything beyond the immediate and actual reality. His genius was far-reaching and agile; his intelligence, vast in extent but common and vulgar in character, embraced humanity, but did not rise above it. He thought what every grenadier in the army thought; but he thought it with unprecedented force. He loved the game of chance, and it pleased him to tempt fortune by urging pigmies in their hundreds and thousands against each other. It was the game of a child as big as the world. He was too wily not to introduce old Iahveh into the game, – Iahveh, who was still powerful on earth, and who resembled him in his spirit of violence and domination. He threatened him, flattered him, caressed him, and intimidated him. He imprisoned his Vicar, of whom he demanded, with the knife at his throat, that rite of unction which, since the days of Saul of old, has bestowed might upon kings; he restored the worship of the demiurge, sang Te Deums to him, and made himself known through him as God of the earth, in small catechisms scattered broadcast throughout the Empire. They united their thunders, and a fine uproar they made.
"While Napoleon's amusements were throwing Europe into a turmoil, we congratulated ourselves on our wisdom, a little sad, withal, at seeing the era of philosophy ushered in with massacre, torture, and war. The worst is that the children of the century, fallen into the most distressing disorder, formed the conception of a literary and picturesque Christianity, which betokens a degeneracy of mind really unbelievable, and finally fell into Romanticism. War and Romanticism, what terrible scourges! And how pitiful to see these same people nursing a childish and savage love for muskets and drums! They did not understand that war, which trained the courage and founded the cities of barbarous and ignorant men, brings to the victor himself but ruin and misery, and is nothing but a horrible and stupid crime when nations are united together by common bonds of art, science, and trade.
"Insane Europeans who plot to cut each others' throats, now that one and the same civilisation enfolds and unites them all!
"I renounced all converse with these madmen and withdrew to this village, where I devoted myself to gardening. The peaches in my orchard remind me of the sun-kissed skin of the Mænads. For mankind I have retained my old friendship, a little admiration, and much pity, and I await, while cultivating this enclosure, that still distant day when the great Dionysus shall come, followed by his Fauns and his Bacchantes, to restore beauty and gladness to the world, and bring back the Golden Age. I shall fare joyously behind his car. And who knows if in that day of triumph mankind will be there for us to see? Who knows whether their worn-out race will not have already fulfilled its destiny, and whether other beings will not rise upon the ashes and ruins of what once was man and his genius? Who knows if winged beings will not have taken possession of the terrestrial empire? Even then the work of the good demons will not be ended, – they will teach a winged race arts and the joy of life."
CHAPTER XXII
WHEREIN WE ARE SHOWN THE INTERIOR OF A BRIC-A-BRAC SHOP, AND SEE HOW PÈRE GUINARDON'S GUILTY HAPPINESS IS MARRED BY THE JEALOUSY OF A LOVE-LORN DAME
PÈRE GUINARDON (as Zéphyrine had faithfully reported to Monsieur Sariette) smuggled out the pictures, furniture, and curios stored in his attic in the rue Princesse – his studio he called it – and used them to stock a shop he had taken in the rue de Courcelles. Thither he went to take up his abode, leaving Zéphyrine, with whom he had lived for fifty years, without a bed or a saucepan or a penny to call her own, except eighteenpence the poor creature had in her purse. Père Guinardon opened an old picture and curiosity shop, and in it he installed the fair Octavie.
The shop-front presented an attractive appearance: there were Flemish angels in green copes, after the manner of Gérard David, a Salomé of the Luini school, a Saint Barbara in painted wood of French workmanship, Limoges enamel-work, Bohemian and Venetian glass, dishes from Urbino. There were specimens of English point-lace which, if her tale was true, had been presented to Zéphyrine, in the days of her radiant girlhood, by the Emperor Napoleon III. Within, there were golden articles that glinted in the shadows, while pictures of Christ, the Apostles, high-bred dames, and nymphs also presented themselves to the gaze. There was one canvas that was turned face to the wall so that it should only be looked at by connoisseurs; and connoisseurs are scarce. It was a replica of Fragonard's Gimblette, a brilliant painting that looked as if it had barely had time to dry. Papa Guinardon himself remarked on the fact. At the far end of the shop was a king-wood cabinet, the drawers of which were full of all manner of treasures: water-colours by Baudouin, eighteenth-century books of illustrations, miniatures, and so forth.
But the real masterpiece, the marvel, the gem, the pearl of great price, stood upon an easel veiled from public view. It was a Coronation of the Virgin by Fra Angelico, an exquisitely delicate thing in gold and blue and pink. Père Guinardon was asking a hundred thousand francs for it. Upon a Louis XV chair beside an Empire work-table on which stood a vase of flowers, sat the fair Octavie, broidery in hand. She, having left her glistering rags behind her in the garret in the rue Princesse, no longer presented the appearance of a touched-up Rembrandt, but shone, rather, with the soft radiance and limpidity of a Vermeer of Delft, for the delectation of the connoisseurs who frequented the shop of Papa Guinardon. Tranquil and demure, she remained alone in the shop all day, while the old fellow himself was up aloft working away at the deuce knows what picture. About five o'clock he used to come downstairs and have a chat with the habitués of the establishment.
The most regular caller was the Comte Desmaisons, a thin, cadaverous man. A strand of hair issued from the deep hollow under each cheek-bone, and, broadening as it descended, shed upon his chin and chest torrents of snow in which he was for ever trailing his long, fleshless, gold-ringed fingers. For twenty years he had been mourning the loss of his wife, who had been carried off by consumption in the flower of her youth and beauty. Since then he had spent his whole life in endeavouring to hold converse with the dead and in filling his lonely mansion with second-rate paintings. His confidence in Guinardon knew no bounds. Another client who was a scarcely less frequent visitor to the shop was Monsieur Blancmesnil, a director of a large financial establishment. He was a florid, prosperous-looking man of fifty. He took no great interest in matters of art, and was perhaps an indifferent connoisseur, but, in his case, it was the fair Octavie, seated in the middle of the shop, like a song-bird in its cage, that offered the attraction.
Monsieur Blancmesnil soon established relations with her, a fact which Père Guinardon alone failed to perceive, for the old fellow was still young in his love-affair with Octavie. Monsieur Gaétan d'Esparvieu used to pay occasional visits to Père Guinardon's shop out of mere curiosity, for he strongly suspected the old man of being a first-rate "faker."
And then that doughty swordsman, Monsieur Le Truc de Ruffec, also came to see the old antiquary on one occasion, and acquainted him with a plan he had on foot. Monsieur Le Truc de Ruffec was getting up a little historical exhibition of small arms at the Petit Palais in aid of the fund for the education of the native children in Morocco and wanted Père Guinardon to lend him a few of the most valuable articles in his collection.
"Our first idea," he said, "was to organise an exhibition to be called 'The Cross and the Sword.' The juxtaposition of the two words will make the idea which has prompted our undertaking sufficiently clear to you. It was an idea pre-eminently patriotic and Christian which led us to associate the Sword, which is the symbol of Honour, with the Cross, which is the symbol of Salvation. It was hoped that our work would be graced by the distinguished patronage of the Minister of War and Monseigneur Cachepot. Unfortunately there were difficulties in the way, and the full realisation of the project had to be deferred. In the meantime we are limiting our exhibition to 'The Sword.' I have drawn up an explanatory note indicating the significance of the demonstration."
Having delivered himself of these remarks, Monsieur Le Truc de Ruffec produced a pocket-case stuffed full of papers. Picking out from a medley of judgment summonses and other odds and ends a little piece of very crumpled paper, he exclaimed, "Ah, here it is," and proceeded to read as follows: "'The Sword is a fierce Virgin; it is par excellence the Frenchman's weapon. And now, when patriotic sentiment, after suffering an all too protracted eclipse, is beginning to shine forth again more ardently than ever …' and so forth; you see?"
And he repeated his request for some really fine specimen to be placed in the most conspicuous position in the exhibition to be held on behalf of the little native children of Morocco, of which General d'Esparvieu was to be honorary President.
Arms and armour were by no means Père Guinardon's strong point. He dealt principally in pictures, drawings, and books. But he was never to be taken unawares. He took down a rapier with a gilt colander-shaped hilt, a highly typical piece of workmanship of the Louis XIII-Napoleon III period, and presented it to the exhibition promoter, who, while contemplating it with respect, maintained a diplomatic silence.
"I have something better still in here," said the antiquary, and he produced from his inner shop – where it had been lying among the walking-sticks and umbrellas – a real demon of a sword, adorned with fleurs-de-lys, a genuine royal relic. It was the sword of Philippe-Auguste as worn by an actor at the Odéon when Agnès de Méranie was being performed in 1846. Guinardon held it point downwards, as though it were a cross, clasping his hands piously on the cross-bar. He looked as loyal as the sword itself.
"Have her for your exhibition," said he. "The damsel is well worth it. Bouvines is her name."
"If I find a buyer for it," said Monsieur Le True de Ruffec, twirling his enormous moustachios, "I suppose you will allow me a little commission?"
Some days later, Père Guinardon was mysteriously displaying a picture to the Comte Desmaisons and Monsieur Blancmesnil. It was a newly discovered work of El Greco, an amazingly fine example of the Master's later style. It represented a Saint Francis of Assisi standing erect upon Mont Alverno. He was mounting heavenward like a column of smoke, and was plunging into the regions of the clouds a monstrously narrow head that the distance rendered smaller still. In fine it was a real, very real, nay, too real El Greco. The two collectors were attentively scrutinizing the work, while Père Guinardon was belauding the depth of the shadows and the sublimity of the expression. He was raising his arms aloft to convey an idea of the greatness of Theotocopuli, who derived from Tintoretto, whom, however, he surpassed in loftiness by a hundred cubits.
"He was chaste and pure and strong; a mystic, a visionary."
Comte Desmaisons declared that El Greco was his favourite painter. In his inmost heart Blancmesnil was not so entirely struck with it.
The door opened, and Monsieur Gaétan quite unexpectedly appeared on the scene.
He gave a glance at the Saint Francis, and said:
"Bless my soul!"
Monsieur Blancmesnil, anxious to improve his knowledge, asked him what he thought of this artist who was now so much in vogue. Gaétan replied, glibly enough, that he did not regard El Greco as the eccentric, the madman that people used to take him for. It was rather his opinion that a defect of vision from which Theotocopuli suffered compelled him to deform his figures.
"Being afflicted with astigmatism and strabismus," Gaétan went on, "he painted the things he saw exactly as he used to see them."
Comte Desmaisons was not readily disposed to accept so natural an explanation, which, however, by its very simplicity, highly commended itself to Monsieur Blancmesnil.
Père Guinardon, quite beside himself, exclaimed:
"Are you going to tell me, Monsieur d'Esparvieu, that Saint John was astigmatic because he beheld a woman clothed with the sun, crowned with stars, with the moon about her feet; the Beast with seven heads and ten horns, and the seven angels robed in white linen that bore the seven cups filled with the wrath of the Living God?"
"After all," said Monsieur Gaétan, by way of conclusion, "people are right in admiring El Greco if he had genius enough to impose his morbidity of vision upon them. By the same token, the contortions to which he subjects the human countenance may give satisfaction to those who love suffering, – a class more numerous than is generally supposed."
"Monsieur," replied the Comte Desmaisons, stroking his luxuriant beard with his long, thin hand, "we must love those that love us. Suffering loves us and attaches itself to us. We must love it if life is to be supportable to us. In the knowledge of this truth lies the strength and value of Christianity. Alas! I do not possess the gift of Faith. It is that which drives me to despair."
The old man thought of her for whom he had been mourning twenty years, and forthwith his reason left him, and his thoughts abandoned themselves unresistingly to the morbid imaginings of gentle and melancholy madness.
Having, he said, made a study of psychic matters, and having, with the co-operation of a favourable medium, carried out experiments concerning the nature and duration of the soul, he had obtained some remarkable results, which, however, did not afford him complete satisfaction. He had succeeded in viewing the soul of his dead wife under the appearance of a transparent and gelatinous mass which bore not the slightest resemblance to his adored one. The most painful part about the whole experiment – which he had repeated over and over again – was that the gelatinous mass, which was furnished with a number of extremely slender tentacles, maintained them in constant motion in time to a rhythm apparently intended to make certain signs, but of what these movements were supposed to convey there was not the slightest clue.
During the whole of this narrative Monsieur Blancmesnil had been whispering in a corner with the youthful Octavie, who sat mute and still, with her eyes on the ground.
Now Zéphyrine had by no means made up her mind to resign her lover into the hands of an unworthy rival. She would often go round of a morning, with her shopping-basket on her arm, and prowl about outside the curio shop. Torn betwixt grief and rage, tormented by warring ideas, she sometimes thought she would empty a saucepanful of vitriol on the head of the faithless one; at others that she would fling herself at his feet, and shower tears and kisses on his precious hands. One day, as she was thus eyeing her Michel – her beloved but guilty Michel – she noticed through the window the fair and youthful Octavie, who was sitting with her embroidery at a table upon which, in a vase of crystal, a rose was swooning to death. Zéphyrine, in a transport of fury, brought down her umbrella on her rival's fair head, and called her a bitch and a trollop. Octavie fled in terror, and ran for the police, while Zéphyrine, beside herself with grief and love, kept digging away with her old gamp at the Gimblette of Fragonard, the fuliginous Saint Francis of El Greco, the virgins, the nymphs, and the apostles, and knocked the gilt off the Fra Angelico, shrieking all the while:
"All those pictures there, the El Greco, the Beato Angelico, the Fragonard, the Gérard David, and the Baudouins – Guinardon painted the whole lot of them himself, the wretch, the scoundrel! That Fra Angelico there, why I saw him painting it on my ironing-board, and that Gérard David he executed on an old midwife's sign-board. You and that bitch of yours, why, I'll do for the pair of you just as I'm doing for these pictures."
And tugging away at the coat of an aged collector who, trembling all over, had hidden himself in the darkest corner of the shop, she called him to witness to the crimes of Guinardon, perjurer and impostor. The police had simply to tear her out of the ruined shop. As she was being taken off to the station, followed by a great crowd of people, she raised her fiery eyes to Heaven, crying in a voice choked with sobs:
"But don't you know Michel? If you knew him, you would understand that it is impossible to live without him. Michel! He is handsome and good and charming. He is a very god. He is Love itself. I love him! I love him! I love him! I have known men high up in the world – Dukes, Ministers of State, and higher still. Not one of them was worthy to clean the mud off Michel's boots. My good, kind sirs, give him back to me again."
CHAPTER XXIII
WHEREIN WE ARE PERMITTED TO OBSERVE THE ADMIRABLE CHARACTER OF BOUCHOTTE, WHO RESISTS VIOLENCE BUT YIELDS TO LOVE. AFTER THAT LET NO ONE CALL THE AUTHOR A MISOGYNIST
ON coming away from the Baron Everdingen's, Prince Istar went to have a few oysters and a bottle of white wine at an eating-house in the Market. Then, being prudent as well as powerful, he paid a visit to his friend, Théophile Belais, for his pockets were full of bombs, and he wanted to secrete them in the musician's cupboard. The composer of Aline, Queen of Golconda was not at home. However, the Kerûb found Bouchotte busily working up the rôle of Zigouille; for the young artiste was booked to play the principal part in Les Apaches, an operetta that was then being rehearsed in one of the big music halls. The part in question was that of a street-walker who by her obscene gestures lures a passer-by into a trap, and then, while her victim is being gagged and bound, repeats with fiendish cruelty the lascivious motions by which he had been led astray. The part required that she should appear both as mime and singer, and she was in a state of high enthusiasm about it.
The accompanist had just left. Prince Istar seated himself at the piano, and Bouchotte resumed her task. Her movements were unseemly and delicious. Her tawny hair was flying in all directions in wild disordered curls; her skin was moist, it exhaled a scent of violets and alkaline salts which made the nostrils throb; even she herself felt the intoxication. Suddenly, inebriated with her intoxicating presence, Prince Istar arose, and with never a word or a look, caught her into his arms and drew her on to the couch, the little couch with the flowered tapestry which Théophile had procured at one of the big shops by promising to pay ten francs a month for a long term of years. Now Istar might have solicited Bouchotte's favours; he might have invited her to a rapid, and, withal, a mutual embrace, and, despite her preoccupation and excitement, she would not have refused him. But Bouchotte was a girl of spirit. The merest hint of coercion awoke all her untamable pride. She would consent of her own accord, yes; but be mastered, never! She would readily yield to love, curiosity, pity, to less than that even, but she would die rather than yield to force. Her surprise immediately gave place to fury. She fought her aggressor with all her heart and soul.