Part 18 (1/2)
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-gla.s.s 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 wors.h.i.+p. The organist was in love with the old masters and on holidays celebrated ma.s.ses by Palestrina and Orlando La.s.so, 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 ma.s.sive 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 ma.s.ses 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 pa.s.sion 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 pa.s.sionate 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 ma.s.sacred, 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, hara.s.sed 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-gla.s.s. 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 pa.s.sed 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 pota.s.sium 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 quant.i.ties?”