Part 15 (2/2)

'I beg your pardon. I thought you were a workman.'

As I left, I saw by the vivacity with which she scratched the back of her head with a knitting-needle that she was writhing mentally with the torture of unsatisfied curiosity; and I took a malignant pleasure in her suffering.

The white flannel that I was wearing was the most agreeable reason I could think of for being a.s.sociated with plaster, but my resemblance to a tiler continued to perplex me as I trudged along the road.

I now left the broad highway, and took a narrower road that went for some distance through woods up the side of a long hill. The shadows were gathering under the trees, and I was beginning to fear that I should reach the castle too late to carry out my pilgrimage that night, when I saw above me, upon a knoll resting upon rocky b.u.t.tresses, a modern mansion against a background of trees. This was the very pleasant country residence built by M. Magne, Minister of Finance under the Second Empire, upon the site of the castle of Montaigne, which the author of the 'Essays,' with a better sense of certain distinctions than that which is observed nowadays, preferred to speak of as his _manoir_. This manor-house still preserved its fifteenth and sixteenth century character, when a fire breaking out destroyed everything but the walls, and gave M. Magne a plausible excuse for the demolition. A part that was spared by the fire, and was therefore suffered to remain intact, was the almost isolated tower, to which Montaigne withdrew for the sake of quiet and meditation, and which is so well known to all readers of his 'Essays.' Had this also disappeared, I should have had no motive for wandering down the long avenue at nearly the end of the day.

I met with a courteous reception at the mansion, and obtained immediate permission to visit the retreat of the sixteenth-century moralist who looked with such clear eyes upon human life.

[Ill.u.s.tration: THE CHaTEAU DE MONTAIGNE AFTER THE FIRE.]

The tower and its gateway belong to the period when feudalism had lost its vitality, and life was troubled by the vague perception of new motives and principles. Montaigne tells us that his family had occupied the manor a hundred years when he entered into possession, and the style of the fragment that is left bears out this statement: it appears to belong to the middle part of the fifteenth century. Already manorial houses, crenated and often moated, but, like this one at Montaigne, defensive rather for show than the reality, were scattered over France. Speaking generally, they belonged to the small n.o.bility who fell under the category of the _arriere-ban_ in time of war. In this tower Montaigne had his chapel, his bedroom--to which he retired when the yearning for solitude was strong--and his library. The chapel is on the ground-floor, and is very much what it was in Montaigne's time. It is small, but there was room enough to accommodate his household, which was never a large one. Its little cupola connects it with the local style of architecture, to which the high-swelling name of Byzantino-Perigourdin has been given. A small stone altar occupies the apsidal end, and here, as in two or three other places, the arms of Montaigne will be noted with interest by those who have read in the essays: '_Je porte d'azur seme de trefles d'or, a une patte de lyon de mesme armee de gueules, mise en face_.'

A man is often a sceptic on the surface and a believer underneath. Pascal has called Montaigne '_un pur pyrrhonien_'; but Pascal himself has been accused of scepticism. Living in an age when the crimes daily committed in the name of religion might so easily have inspired a hater of violence like Montaigne with a horror of creeds, he was no philosopher of the G.o.d-denying sort. Moreover, notwithstanding his doubting moods and his fondness of the words '_Que sais-je?_' he upheld the practice of religion in his own home, and died a Christian.

He shared, however, the eccentricity of Louis XI. in keeping himself out of sight when he attended the religious services in his chapel. In the vaulting near the entrance is a small opening communicating with a narrow pa.s.sage, by means of which Montaigne could leave his bedroom and hear ma.s.s without showing himself; but in order to do so he had to grope along his rabbit's burrow almost on hands and knees. To reach his bedroom from the ground, he climbed up the spiral staircase as the visitor does today. The steps are much worn in places, and the boots of the essayist must have had something to do with this, for he probably used the tower more than any other man. The room, nearly circular in shape, with brick floor and small windows, looks to modern eyes more like a prison than a bed-chamber befitting a n.o.bleman. But independently of the great difference in the ideas of home comfort which prevailed in the upper ranks of sixteenth-century society, compared to those of the same cla.s.s to-day, Montaigne, like all men with large minds, loved simplicity. His father, who rode the hobby-horse of frugal and severe training to an extent that might have proved disastrous to his son Michel, had not the boy been singularly well endowed by nature to correspond to his parent's wishes, had nurtured him in the scorn of luxury by methods which would be considered very crotchety nowadays. But this could not have been 'my chamber' in which King Henry of Navarre slept, in 1584, when he paid a visit to Montaigne at his fortified house. There was a better one in that part of the building which has disappeared. Montaigne tells, with his quaint humour, that he was in the habit of retiring to his bedroom in the tower so that he might rule there undisturbed, and have a corner apart from what he curiously terms the 'conjugal, filial, and civil community.' And he expresses pity for the man who is not able to 'hide himself' in the same way when the humour leads him to do so.

It was in the room above, however, where he enjoyed to the full the pleasures of contemplation and quietude. Here, he tells us, he had installed his library, in what had previously been regarded as the most useless part of his mansion. The position had certain advantages. 'I can see beneath me my garden and my poultry-yard, and can look into the princ.i.p.al parts of my house.' It appears from this that he was so much 'in the clouds,' that he did not occasionally find satisfaction from peeping through windows to see what others were doing. It is in this way that the old writers reveal themselves, and they keep themselves in sympathy with mankind by not affecting to be above the little weaknesses common to humanity. Here Montaigne spent the greater part of his time, except in winter, when he often found the library too draughty to be comfortable. It was in this room that he wrote his essays, and chiefly thought them out while pacing up and down the floor, which even then was so uneven that the only flat bit was where he had placed his table and chair. In common with some other celebrated writers, he found that his thoughts went to sleep when he sat down. 'My. mind does not work unless the legs make it move.

Those who study without a book are all in the same state.'

Montaigne was no despiser of books; on the contrary, he was a great reader, and one of the most scholarly men of his age; but he had his fits of reading like other people, and the intervals between them were sometimes long. Without a doubt, these intervals were the most productive periods.

The educational system to which he was subjected as a child was enough to disgust him with books, and to separate him for ever from them as soon as he had obtained his freedom. He was crammed with Latin, as a goose that has to be fattened is crammed with maize in his own Perigord. He was not allowed to speak even to his mother in French or in Perigourdin. Such was the will of his father, who must have been a rather difficult man to live with, and one whom a woman of spirit in this century would kill or cure with curtain lectures if his interference with her in the nursery should outrage the instincts of maternity. The very small boy was handed over to tutors, whose instructions were to make Latin his first language, and even his mother and servants were compelled to pick up enough Latin words to carry on some sort of conversation with him.

In the printers' preface to one of the earliest editions of the 'Essays,'

it is said: '_Somme, ils se_ _latiniserent tant qu'il en regorgea jusque a leurs villages tout autour, ou ont pris pied par usage plusieurs appellations latines d'artisans et d'outils.'_ It is just possible that some of these Latin terms may have lingered in the district to the present day; but it would need a great deal of patience to find them, and to distinguish them from the patois of the people. Montaigne was more than six years old before he was allowed to say a word in French or in the dialect of Perigord--that of Arnaud and Bertrand de Born. He finished his austere education at the then celebrated College of Guyenne, at Bordeaux, where, according to local authorities, he had among his teachers the Scotch poet, George Buchanan.

'When young,' writes Montaigne, 'I studied for show; afterwards to grow wiser; now I study for diversion.' He liked to have his books around him even when he did not read them. Numerous reading-desks were distributed over the brick floor of this circular room, and upon them he placed his favourite volumes. He therefore read standing, according to the very general custom of his time, which was doubtless better than our own, of making our backs crooked by sitting and bending over our books. According to his own admission, he had a bad memory, therefore he must have been in frequent need of referring to his tomes for the quotations from ancient authors which he was so fond of bringing into his text, and which make a writer at this end of the nineteenth century smile at the thought of how all the quills would rise upon that fretful and pampered porcupine, the reading public of to-day, if Latin and Greek were ladled out to it after Montaigne's fas.h.i.+on.

The room is bare, with the exception of the wreck of an armchair of uncertain history; but upon the forty-seven beams crossing the ceiling are fifty-four inscriptions in Latin and Greek, written, or rather painted, with a brush by Montaigne. Their interest has suffered a little from the restoration which some of them have undergone; but there they are, the crystals of thought picked up by the hermit of the tower in his wanderings along the highways and byways of ancient literature, and which he fastened, as it were, to the beams over his head, just where the peasants to-day hang their dry sausages, their bacon, and strings of garlic. Many persons copy sentences out of their favourite books, with the intention of tasting their savour again and again; but if they do not lose them, they are generally too busy or too indolent afterwards to look for them. Montaigne, however, had his favourite texts always before his eyes.

The curious visitor intent upon a discovery will be sure to find in these the philosophical scaffolding of the 'Essays;' but I, who examine such things somewhat superficially, would rather believe that Montaigne inscribed them upon the rough wood because they expressed in a few words much that he had already thought or felt. By the extracts that a man makes for his private satisfaction from the authors who please him, the bent of his intellect and cast of character can be very accurately judged. If other testimony were wanting, these sentences would prove the gravely philosophical temper of Montaigne's mind, notwithstanding the flippant confessions of frailty which he mingles sometimes so incongruously with the reflections of a sage. Most of the extracts are from Latin and Greek authors, but not a few are from the Books of Ecclesiastes and Ecclesiasticus and the Epistles of St. Paul. Here one sees written by the hand of the sixteenth century thinker the n.o.ble words of Terence:

'h.o.m.o sum, humani a me nihil alienum puto.'

Then one catches sight of this line by the sagacious Horace:

'Quid aeternis minorem consiliis animum fatigas?'

Looking at another piece of timber, one slowly spells out the words:

'O miseras hominum mentes! O pectora caeca!'

And so one follows the track of Montaigne's mind from rafter to rafter.

Had I been left alone here while the evening shadows gathered in the tower, I might soon have seen the figure of a man in trunk-hose, doublet, and ruff, with pointed beard and pensive eyes, moving noiselessly between rows of spectral desks covered by spectral books; but, as it was, even in the most shadowy corner I could not detect the faintest outline of a ghost.

n.o.body knows what has become of all the volumes which were here, and which were said to have numbered a thousand. They were given by Montaigne's only surviving child, his daughter Leonore, to the Abbe de Roquefort, but what became of them afterwards is a mystery. There is a small room adjoining the library, the one that Montaigne mentions as having a fireplace. The hearth where he sat and warmed himself has scarcely changed. Here on the walls may be seen traces of paintings. They are supposed to be the work of a travelling artist, to whom Montaigne gave food and shelter in exchange for his labour. It would appear from this that he was careful not to ruin himself by the encouragement of art. Montaigne, however, had a good nature, although he may not have cared to spend money on bad pictures. He has told us of his efforts to reclaim little beggars, and to make them respectable members of society. Before the present chateau was built, the old kitchen could be seen where he warmed and fed the young mendicants, who, having been refreshed and comforted, returned to their old ways, '_les gueux ayant leurs magnificences et leurs voluptes comme les riches_.'

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