Complete Works of Emile Zola (1536 page)

Mathieu then for the first time noticed that Santerre was in evening dress. They continued chatting for a moment, and the novelist called attention to a new pewter treasure among Seguin’s collection. It represented a long, thin woman, stretched full-length, with her hair streaming around her. She seemed to be sobbing as she lay there, and Santerre declared the conception to be a masterpiece. The figure symbolized the end of woman, reduced to despair and solitude when man should finally have made up his mind to have nothing further to do with her. It was the novelist who, in literary and artistic matters, helped on the insanity which was gradually springing up in the Seguins’ home.

However, Seguin himself now made his appearance. He was of the same age as Santerre, but was taller and slimmer, with fair hair, an aquiline nose, gray eyes, and thin lips shaded by a slight moustache. He also was in evening dress.

“Ah! well, my dear fellow,” said he with the slight lisp which he affected, “Valentine is determined to put on a new gown. So we must be patient; we shall have an hour to wait.”

Then, on catching sight of Mathieu, he began to apologize, evincing much politeness and striving to accentuate his air of frigid distinction. When the young man, whom he called his amiable tenant, had acquainted him with the motive of his visit — the leak in the zinc roof of the little pavilion at Janville — he at once consented to let the local plumber do any necessary soldering. But when, after fresh explanations, he understood that the roofing was so worn and damaged that it required to be changed entirely, he suddenly departed from his lofty affability and began to protest, declaring that he could not possibly expend in such repairs a sum which would exceed the whole annual rental of six hundred francs.

“Some soldering,” he repeated; “some soldering; it’s understood. I will write to the plumber.” And wishing to change the subject he added: “Oh! wait a moment, Monsieur Froment. You are a man of taste, I know, and I want to show you a marvel.”

He really had some esteem for Mathieu, for he knew that the young fellow possessed a quick appreciative mind. Mathieu began to smile, outwardly yielding to this attempt to create a diversion, but determined at heart that he would not leave the place until he had obtained the promise of a new roof. He took hold of a book, clad in a marvellous binding, which Seguin had fetched from a bookcase and tendered with religious care. On the cover of soft snow-white leather was incrusted a long silver lily, intersected by a tuft of big violet thistles. The title of the work, “Beauty Imperishable,” was engraved up above, as in a corner of the sky.

“Ah! what a delightful conception, what delightful coloring!” declared Mathieu, who was really charmed. “Some bindings nowadays are perfect gems.” Then he noticed the title: “Why, it’s Monsieur Santerre’s last novel!” said he.

Seguin smiled and glanced at the writer, who had drawn near. And when he saw him examining the book and looking quite moved by the compliment paid to it, he exclaimed: “My dear fellow, the binder brought it here this morning, and I was awaiting an opportunity to surprise you with it. It is the pearl of my collection! What do you think of the idea — that lily which symbolizes triumphant purity, and those thistles, the plants which spring up among ruins, and which symbolize the sterility of the world, at last deserted, again won over to the only perfect felicity? All your work lies in those symbols, you know.”

“Yes, yes. But you spoil me; you will end by making me proud.”

Mathieu had read Santerre’s novel, having borrowed a copy of it from Mme. Beauchene, in order that his wife might see it, since it was a book that everybody was talking of. And the perusal of it had exasperated him. Forsaking the customary bachelor’s flat where in previous works he had been so fond of laying scenes of debauchery, Santerre had this time tried to rise to the level of pure art and lyrical symbolism. The story he told was one of a certain Countess Anne-Marie, who, to escape a rough-mannered husband of extreme masculinity, had sought a refuge in Brittany in the company of a young painter endowed with divine inspiration, one Norbert, who had undertaken to decorate a convent chapel with paintings that depicted his various visions. And for thirty years he went on painting there, ever in colloquy with the angels, and ever having Anne-Marie beside him. And during those thirty years of love the Countess’s beauty remained unimpaired; she was as young and as fresh at the finish as at the outset; whereas certain secondary personages, introduced into the story, wives and mothers of a neighboring little town, sank into physical and mental decay, and monstrous decrepitude. Mathieu considered the author’s theory that all physical beauty and moral nobility belonged to virgins only, to be thoroughly imbecile, and he could not restrain himself from hinting his disapproval of it.

Both Santerre and Seguin, however, hotly opposed him, and quite a discussion ensued. First Santerre took up the matter from a religious standpoint. Said he, the words of the Old Testament, “Increase and multiply,” were not to be found in the New Testament, which was the true basis of the Christian religion. The first Christians, he declared, had held marriage in horror, and with them the Holy Virgin had become the ideal of womanhood. Seguin thereupon nodded approval and proceeded to give his opinions on feminine beauty. But these were hardly to the taste of Mathieu, who promptly pointed out that the conception of beauty had often varied.

“To-day,” said he, “you conceive beauty to consist in a long, slim, attenuated, almost angular figure; but at the time of the Renaissance the type of the beautiful was very different. Take Rubens, take Titian, take even Raffaelle, and you will see that their women were of robust build. Even their Virgin Marys have a motherly air. To my thinking, moreover, if we reverted to some such natural type of beauty, if women were not encouraged by fashion to compress and attenuate their figures so that their very nature, their very organism is changed, there would perhaps be some hope of coping with the evil of depopulation which is talked about so much nowadays.”

The others looked at him and smiled with an air of compassionate superiority. “Depopulation an evil!” exclaimed Seguin; “can you, my dear sir, intelligent as you are, still believe in that hackneyed old story? Come, reflect and reason a little.”

Then Santerre chimed in, and they went on talking one after the other and at times both together. Schopenhauer and Hartmann and Nietzsche were passed in review, and they claimed Malthus as one of themselves. But all this literary pessimism did not trouble Mathieu. He, with his belief in fruitfulness, remained convinced that the nation which no longer had faith in life must be dangerously ill. True, there were hours when he doubted the expediency of numerous families and asked himself if ten thousand happy people were not preferable to a hundred thousand unhappy ones; in which connection political and economic conditions had to be taken into account. But when all was said, he remained almost convinced that the Malthusian hypotheses would prove as false in the future as they had proved false in the past.

“Moreover,” said he, “even if the world should become densely populated, even if food supplies, such as we know them, should fall short, chemistry would extract other means of subsistence from inorganic matter. And, besides, all such eventualities are so far away that it is impossible to make any calculation on a basis of scientific certainty. In France, too, instead of contributing to any such danger, we are going backward, we are marching towards annihilation. The population of France was once a fourth of the population of Europe, but now it is only one-eighth. In a century or two Paris will be dead, like ancient Athens and ancient Rome, and we shall have fallen to the rank that Greece now occupies. Paris seems determined to die.”

But Santerre protested: “No, no; Paris simply wishes to remain stationary, and it wishes this precisely because it is the most intelligent, most highly civilized city in the world. The more nations advance in civilization the smaller becomes their birth-rate. We are simply giving the world an example of high culture, superior intelligence, and other nations will certainly follow that example when in turn they also attain to our state of perfection. There are signs of this already on every side.”

“Quite so!” exclaimed Seguin, backing up his friend. “The phenomenon is general; all the nations show the same symptoms, and are decreasing in numbers, or will decrease as soon as they become civilized. Japan is affected already, and the same will be the case with China as soon as Europe forces open the door there.”

Mathieu had become grave and attentive since the two society men, seated before him in evening dress, had begun to talk more rationally. The pale, slim, flat virgin, their ideal of feminine beauty, was no longer in question. The history of mankind was passing by. And almost as if communing with himself, he said: “So you do not fear the Yellow Peril, that terrible swarming of Asiatic barbarians who, it was said, would at some fatal moment sweep down on our Europe, ravage it, and people it afresh? In past ages, history always began anew in that fashion, by the sudden shifting of oceans, the invasion of fierce rough races coming to endow weakened nations with new blood. And after each such occurrence civilization flowered afresh, more broadly and freely than ever. How was it that Babylon, Nineveh, and Memphis fell into dust with their populations, who seem to have died on the spot? How is it that Athens and Rome still agonize to-day, unable to spring afresh from their ashes and renew the splendor of their ancient glory? How is it that death has already laid its hand upon Paris, which, whatever her splendor, is but the capital of a France whose virility is weakened? You may argue as you please and say that, like the ancient capitals of the world, Paris is dying of an excess of culture, intelligence, and civilization; it is none the less a fact that she is approaching death, the turn of the tide which will carry splendor and power to some new nation. Your theory of equilibrium is wrong. Nothing can remain stationary; whatever ceases to grow, decreases and disappears. And if Paris is bent on dying, she will die, and the country with her.”

“Well, for my part,” declared Santerre, resuming the pose of an elegant pessimist, “if she wishes to die, I shan’t oppose her. In fact, I’m fully determined to help her.”

“It is evident that the really honest, sensible course is to check any increase of population,” added Seguin.

But Mathieu, as if he had not heard them, went on: “I know Herbert Spencer’s law, and I believe it to be theoretically correct. It is certain that civilization is a check to fruitfulness, so that one may picture a series of social evolutions conducing now to decrease and now to increase of population, the whole ending in final equilibrium, by the very effect of culture’s victory when the world shall be entirely populated and civilized. But who can foretell what road will be followed, through what disasters and sufferings one may have to go? More and more nations may disappear, and others may replace them; and how many thousands of years may not be needed before the final adjustment, compounded of truth, justice, and peace, is arrived at? At the thought of this the mind trembles and hesitates, and the heart contracts with a pang.”

Deep silence fell while he thus remained disturbed, shaken in his faith in the good powers of life, and at a loss as to who was right — he or those two men so languidly stretched out before him.

But Valentine, Seguin’s wife, came in, laughing and making an exhibition of masculine ways, which it had cost her much trouble to acquire.

“Ah! you people; you must not bear me any malice, you know. That girl Celeste takes such a time over everything!”

At five-and-twenty Valentine was short, slight, and still girlish. Fair, with a delicate face, laughing blue eyes, and a pert little nose, she could not claim to be pretty. Still she was charming and droll, and very free and easy in her ways; for not only did her husband take her about with him to all sorts of objectionable places, but she had become quite familiar with the artists and writers who frequented the house. Thus it was only in the presence of something extremely insulting that she again showed herself the last of the Vaugelades, and would all at once draw herself up and display haughty contempt and frigidity.

“Ah! it’s you, Monsieur Froment,” she said amiably, stepping towards Mathieu and shaking his hand in cavalier fashion. “Is Madame Froment in good health? Are the children flourishing as usual?”

Seguin was examining her dress, a gown of white silk trimmed with unbleached lace, and he suddenly gave way to one of those horribly rude fits which burst forth at times amid all his great affectation of politeness. “What! have you kept us waiting all this time to put that rag on? Well, you never looked a greater fright in your life!”

And she had entered the room convinced that she looked charming! She made an effort to control herself, but her girlish face darkened and assumed an expression of haughty, vindictive revolt. Then she slowly turned her eyes towards the friend who was present, and who was gazing at her with ecstasy, striving to accentuate the slavish submissiveness of his attitude.

“You look delicious!” he murmured; “that gown is a marvel.”

Seguin laughed and twitted Santerre on his obsequiousness towards women. Valentine, mollified by the compliment, soon recovered her birdlike gayety, and such free and easy conversation ensued between the trio that Mathieu felt both stupefied and embarrassed. In fact, he would have gone off at once had it not been for his desire to obtain from his landlord a promise to repair the pavilion properly.

“Wait another moment,” Valentine at last said to her husband; “I told Celeste to bring the children, so that we might kiss them before starting.”

Mathieu wished to profit by this fresh delay, and sought to renew his request; but Valentine was already rattling on again, talking of dining at the most disreputable restaurant possible, and asking if at the first performance which they were to attend they would see all the horrors which had been hissed at the dress rehearsal the night before. She appeared like a pupil of the two men between whom she stood. She even went further in her opinions than they did, displaying the wildest pessimism, and such extreme views on literature and art that they themselves could not forbear laughing. Wagner was greatly over-estimated, in her opinion; she asked for invertebrate music, the free harmony of the passing wind. As for her moral views, they were enough to make one shudder. She had got past the argumentative amours of Ibsen’s idiotic, rebellious heroines, and had now reached the theory of pure intangible beauty. She deemed Santerre’s last creation, Anne-Marie, to be far too material and degraded, because in one deplorable passage the author remarked that Norbert’s kisses had left their trace on the Countess’s brow. Santerre disputed the quotation, whereupon she rushed upon the volume and sought the page to which she had referred.