Against the Grain Part 17

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 b.r.e.a.s.t.s of angels, all were s.e.xless.

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 t.i.tle 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 a.s.similated 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 sc.r.a.ped 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 Parna.s.sian books; it was printed on parchment paper and preceded by this t.i.tle: _Quelques vers de Mallarme_, designed in a surprising calligraphy in uncial letters, illuminated and relieved with gold, as in old ma.n.u.scripts.

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 encompa.s.sing 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 a.n.a.logies, 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 a.n.a.logy 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 pa.s.sion, 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 j.a.pan 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 j.a.panese 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'a.n.a.logie_, _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 a.n.a.lytic 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.