En Route Part 2

After having, in old days, made friends by chance, and having taken the impression of souls which had nothing in common with his own, he had at last chosen after much useless vagabondage; he had become the intimate friend of a certain Doctor des Hermies, a physician, who devoted much attention to demoniac possession and to mysticism, and of a Breton, named Carhaix, the bell-ringer at St. Sulpice.

These friendships were not like those he had formerly made, entirely superficial and external, they were wide and deep, based on similarity of thought, and the indissoluble ties of soul, and these had been roughly broken; within two months of each other Des Hermies and Carhaix died, the former of typhoid fever, the latter of a chill that prostrated him in his tower, after he had rung the evening Angelus.

These were frightful blows for Durtal. His life, now without an anchor, drifted; he wandered all astray, declaring to himself that this desolation was final, since he had reached an age at which new friends are not made.

So he lived alone, apart among his books, but the solitude which he bore bravely, when he was occupied, when he was writing a book, became intolerable to him now that he was idle. He lounged in an arm-chair in the afternoons, and abandoned himself to his dreams: then, especially, fixed ideas took hold on him, and these ended by playing pantomimes of which the scenes never varied behind the lowered curtain of his eyes.

Nude figures danced in his brain to the tune of psalms, and he woke from these dreams weak and panting, ready, if a priest had been there, to throw himself at his feet with tears, just as he would have abandoned himself to the basest pleasures, had the temptation suddenly come to him.

"Let me chase away these phantoms by work," he cried. But at what should he work? He had just published the "Life of Gilles de Rais," which might interest a few artists, and he now remained without a subject, on the hunt for a book. As, in art, he was a man of extremes, he always went from one excess to the other, and after having dived into the Satanism of the Middle Ages, in his account of "Marshal de Rais," he saw nothing so interesting to investigate as the life of a saint. Some lines which he had discovered in Gorres' and Ribet's "Studies in Mysticism" had put him on the trace of a certain Blessed Lidwine in search of new doc.u.ments.

But admitting that he could unearth anything about her, could he write the life of a saint? He did not believe it, and the arguments on which he based his opinion seemed plausible.

Hagiography was now a lost branch of art, as completely lost as wood carving, and the miniatures of the old missals. Nowadays it is only treated by church officers and priests, by those stylistic agents who seem when they write to put the embryos of their ideas on ballast trucks, and in their hands it has become a commonplace of goody-goody, a translation into a book of the statuettes of Froc Robert, and the coloured images of Boua.s.se.

The way then was free, and it seemed at first easy enough to plan it out, but to extract the charm of the legends needed the simple language of bygone centuries, the ingenuous phrases of the days that are dead.

Who in our time can express the melancholy essence, the pale perfume of the ancient translations of the Golden Legend of Voragine, how bind in one bright posy the plaintive flowers, which the monks cultivated in their cloistered enclosures, when hagiography was the sister of the barbaric and delightful art of the illuminators and gla.s.s stainers, of the ardent and chaste paintings of the Early Masters?

Yet we may not think of giving ourselves over to studious imitations, nor coldly attempt to ape such works as these. The question remains, whether we can with the present artistic resources, succeed in setting up the humble yet lofty figure of a saint; and this is at least doubtful, for the lack of real simplicity, the over-ingenious art of style, the tricks of careful design and the false craft of colour would probably transform the elect lady into a strolling player. She would be no longer a saint, but an actress who rendered the part more or less adroitly; and then the charm would be destroyed, the miracles would seem mechanical, the episodes would be absurd, then ... then ... one must have a lively faith, and believe in the sanct.i.ty of one's heroine, if one would try to exhume her, and put her alive again in a book.

This is so true that we may examine Gustave Flaubert's admirable pages on the legend of St. Julian the Hospitaller. Their development is like a dazzling yet regulated tumult, evolved in superb language whose apparent simplicity is only due to the complicated ingenuity of consummate skill.

All is there, all except the accent which would have made this work a true masterpiece. Given the subject, the fire which should course through these magnificent phrases is absent, there lacks the cry of the love that faints, the gift of the superhuman exile, the mystical soul.

On the other hand, h.e.l.lo's "Physionomies de Saints" are worth reading.

Faith flashes out in each of his portraits, enthusiasm runs over in each chapter, unexpected allusions form deep reservoirs of thought between the lines; but after all h.e.l.lo was so little of an artist that the fairest legends fade when his fingers touch them; the meanness of his style impoverishes the miracles and renders them ineffectual. The art is lacking which would rescue the book from the category of pale and dead publications.

The example of these two men, in complete opposition as ever writers were, neither of whom attained perfection, one in the legend of St.

Julian because faith was wanting, the other because his art was poor and narrow, thoroughly discouraged Durtal. He ought to be both at once, and yet remain himself, if not, there was no good in buckling to for such a task, it were better to be silent; and he threw himself back in his chair sullen and hopeless. Then the contempt of his desolate life grew upon him, and once more he wondered what interest Providence could have in thus tormenting the descendants of the first convicts. If there were no answer, he was obliged to admit that the Church in these disasters gathered up the waifs, sheltered the shipwrecked, brought them home again, and a.s.sured them a resting-place.

No more than Schopenhauer, whom he had once admired, but whose plan of labelling every one before death and whose herbarium of dry sorrows had wearied him, has the Church deceived man, nor sought to decoy him, by boasting the mercy of a life which she knew to be ign.o.ble.

In all her inspired books she proclaims the horror of fate, and mourns over the enforced task of living. Ecclesiasticus, Ecclesiastes, the book of Job, the Lamentations of Jeremias manifest this sorrow in their every line, and the Middle Ages too in the "Imitation of Jesus Christ" cursed existence, and cried out loudly for death.

More plainly than Schopenhauer the Church declared that there is nothing to wish for here below, nothing to expect, but where the mere catalogues of the philosopher stop, the Church went on, overpa.s.sing the limits of the senses, declared the end of man, and defined his limitations.

"Then," he said to himself, "if it be well considered, the vaunted argument of Schopenhauer against the Creator, drawn from the misery and injustice of the world, is not irrefutable, for the world is not as G.o.d made it, but as man has refashioned it."

Before accusing heaven for our ills, it is, no doubt, fitting to examine through what phases of consent, through what voluntary falls the creature has pa.s.sed, before ending in the gloomy disaster it deplores.

We may well curse the vices of our ancestors and our own pa.s.sions which beget the greater part of the woes from which we suffer; we may well loathe the civilization which has rendered life intolerable to cleanly souls, and not the Lord, who, perhaps, did not create us to be shot down by cannon in time of war, to be cheated, robbed, and stripped in time of peace, by the slave drivers of commerce and the brigands of the money market.

But that which remains for ever incomprehensible is the initial horror, the horror imposed on each of us, of having to live, and that is a mystery no philosophy can explain.

"Ah!" he went on, "when I think of that horror, that disgust of existence which has for years and years increased in me, I understand how I am forced to make for the Church, the only port where I can find shelter.

"Once I despised her, because I had a staff on which to lean when the great winds of weariness blew; I believed in my novels, I worked at my history, I had my art. I have come to recognize its absolute inadequacy, its complete incapacity to afford happiness. Then I understood that Pessimism was, at most, good to console those who had no real need of comfort; I understood that its theories, alluring when we are young, and rich, and well, become singularly weak and lamentably false, when age advances, when infirmities declare themselves, when all around is crumbling.

"I went to the church, that hospital for souls. There, at least, they take you in, put you to bed and nurse you, they do not merely turn their backs on you as in the wards of Pessimism and tell you the name of your disease."

Finally Durtal had been brought back to religion by art. More even than his disgust for life, art had been the irresistible magnet which drew him to G.o.d. The day, when out of curiosity and to kill time, he had entered a church, and after so many years of forgetfulness, had heard the Vespers for the dead fall heavily, psalm after psalm, in antiphonal chant, as the singers threw up, like ditchers, their shovelful of verses, his soul had been shaken to its depths. The evenings when he had listened at St. Sulpice to the admirable chanting during the Octave of All Souls, he had felt himself caught once for all; but that which had put most pressure on him, and brought him yet more completely into bondage were the ceremonies and music of Holy Week.

He had visited the churches during that week; and they had opened to him like palaces ruined, like cemeteries laid waste by G.o.d. They were forbidding with their veiled images, their crucifixes wrapped lozenge-wise in purple, their organs dumb, their bells silent. The crowd flowed in, busy, but noiseless, along the floor over the immense cross formed by the nave and the two transepts, and entering by the wounds of which the doors were figures, they went up to the altar, where the blood-stained head of Christ would lie, and there on their knees eagerly kissed the crucifix which marked the place of the chin below the steps.

And the crowd itself, as it ran in the cruciform mould of the church, became itself an enormous cross, living and crawling, silent and sombre.

At St. Sulpice, where the whole a.s.sembled seminary lamented the ignominy of human justice and the fore-ordained death of a G.o.d, Durtal had followed the incomparable offices of those mournful days, through all their black minutes, had listened to the infinite sadness of the Pa.s.sion, so n.o.bly and profoundly expressed at Tenebrae by the slow chanting of the Lamentations and the Psalms, but when he thought it over, that which above all made him shudder was the thought of the Virgin coming on the scene on the Thursday at nightfall.

The Church, till then absorbed in her sorrow, and prostrate before the Cross, raised herself and fell a-weeping on beholding the Mother.

By all the voices of the choir, it pressed round Mary, endeavouring to console her, mixing the tears of the "Stabat Mater" with her own, sighing out that music of plaintive weeping, pressing the wound of that sequence, which gave forth water and blood like the wound of Christ Himself.

Durtal left the church, worn out with these long services, but his temptations to unbelief were gone; he had no further doubt; it seemed to him that at St. Sulpice, grace mixed with the eloquent splendours of the liturgies, and that in the dim sorrow of the voices there had been appeals to him; and he therefore felt filial grat.i.tude to that church where he had lived through hours so sweet and sad.

Yet, in ordinary weeks he did not go there; it seemed to him too great and too cold, and it was so ugly. He preferred warmer and smaller sanctuaries, in which there were still traces of the Middle Ages.

Thus on idle days when he came out of the Louvre, where he had strayed for a long time before the canvases of the Early Painters, he was wont to take refuge in the old church of St. Severin, hidden away in a corner of the poorer part of Paris.

He carried with him the visions of the canvases he had admired at the Louvre, and contemplated them again, in this surrounding where they were thoroughly at home.

Then he spent delightful moments, in which he was carried away in the clouds of harmony, divided by the white splendour of a child's voice flashing out from the rolling thunder of the organ.

There, without even praying, he felt a plaintive languor, a vague uneasiness steal over him; St. Severin delighted him, aided him more than other churches on some days to gain an indescribable impression of joy and pity, sometimes even, when he thought of the filth of his senses, to weave together the regret and the terror of his soul.

He often went there, especially on Sunday mornings to High Ma.s.s at ten o'clock.

He was wont to place himself behind the high altar, in that melancholy and delicate apse, planted like a winter garden with rare and somewhat fantastic trees. It might have been called a petrified arbour of very old trunks in flower, but stripped of leaf, forests of pillars, squared or cut in broad panels, carved with regular notches near the base, hollowed through their whole length like rhubarb stalks, channelled like celery.

No vegetation expanded at the summit of those trunks which bent their naked boughs along the vaulting, joined and met and gathered at their junction, and thin, engrafted knots, extravagant bunches of heraldic roses, armorial flowers with open tracery; and for more than four hundred years no sap had run, no bud had formed in these trees. The shafts bent for ever remained untouched, the white bark of these pillars was scarcely worn, but the greater part of the flowers were withered, the heraldic petals were wanting, some keystones of the arches had only stratified calices, open like nests, with holes like sponges, in rags like handfuls of russet lace.

And among this mystic flora, amid these petrified trees, there was one, strange and charming, which suggested the fanciful idea, that the blue smoke of the rolling incense had condensed, and, as it coagulated, had grown pale with age, to form, in twisting, the spiral of a column which was inverted on itself, and ended broadening out into a sheaf, whereof the broken stems fell from above the arches.

The corner where Durtal took refuge was faintly lighted by pointed stained windows, with black diamond-shaped divisions set with minute panes darkened by the acc.u.mulated dust of years, rendered still more obscure by the woodwork of the chapels, which cut off half their surface.

This apse might have been called a frozen grove of skeleton trees, a conservatory of dead specimens belonging to the palm family, calling up the memory of an impossible phoenix and unlikely palms; but it also recalled by its half-moon shape and doubtful light, the image of a ship's prow below water. In fact it allowed to filter through its bars, to its windows trellised with all black network, the murmur, suggested by the rolling of the carriages which shook the street, of a river which sifted the golden light of day through the briny course of its waters.

On Sundays, at the time of High Ma.s.s, the apse was empty. The public filled the nave before the high altar, or spread themselves somewhat further into a chapel dedicated to Our Lady. Durtal was therefore almost alone, and even the people who crossed his refuge were neither stupid nor hostile, like the faithful in other churches. In this district were beggars, the very poor, hucksters, Sisters of Charity, rag pickers, street arabs; above all, there were women in tatters walking on tiptoe, who knelt without looking round, poor creatures overwhelmed by the piteous splendour of the altars, looking out of the corner of their eyes, and bending low when the Suisse pa.s.sed them.

Touched by the timidity of this silent misery, Durtal listened to the ma.s.s chanted by a scanty choir, but one patiently taught. The choir of St. Severin intoned the Credo, that marvel of plain chant, better than it was done at St. Sulpice, where, however, the offices were as a rule solemn and correct. It bore it, as it were, to the top of the choir, and let it spread with its great wings open and almost without motion, above the prostrate flock, when the verse "Et h.o.m.o factus est" took its slow and reverent flight in the low voice of the singer. It was at once monumental and fluid, indestructible like the articles of the Creed itself, inspired like the text, which the Holy Spirit dictated, in their last meeting, to the united apostles of Christ.

At St. Severin a powerful voice declaimed a verse as a solo, then all the children, sustained by the rest of the singers, delivered the others, and the unchangeable truths declared themselves in their order, more attentive, more grave, more accentuated, even a little plaintive in the solo voice of a man, more timid perhaps, but also more familiar and more joyous, in the dash, however restrained, of the boys.

At such a moment Durtal was roused, and exclaimed within himself: "It is impossible that the alluvial deposits of Faith which have created this musical certainty are false. The accent of these declarations is such as to be superhuman, and far from profane music, which has never attained to the solid grandeur of this naked chant."

The whole ma.s.s, moreover, at St. Severin was perfect. The "Kyrie eleison," solemn and sumptuous, the "Gloria in excelsis," shared by the grand and the choir organs, the one taking the solos, the other guiding and sustaining the singers, was full of exultant joy; the "Sanctus,"

concentrated, almost haggard, resounded through the arches when the choir shouted the "Hosanna in excelsis," and the "Agnus Dei" was sung low to a clear, suppliant melody, so humble that it dared not become loud.

Indeed, except for a contraband "O Salutaris," introduced there as in other churches, St. Severin maintained, on ordinary Sundays, the musical liturgy, sang it almost reverentially with the fragile but well-toned voices of the boys, the solidly built ba.s.ses bringing vigorous sounds from the deep.

It was a joy to Durtal to linger in the delightful surroundings of the Middle Ages, in that shadowy loneliness, amid the chants which rose behind him, without being annoyed by tricks of the mouths which he could not see.