Penguin Island

by Anatole France

  We see, in such a criticism as this, a shining reflection, so to speak, of the work which it exalts; yet MacSilly, the seraphic aesthete of Edinburgh, has expressed in a still more moving and penetrating fashion the impression produced upon his mind by the sight of this primitive painting. “The Madonna of Margaritone,” says the revered MacSilly, “attains the transcendent end of art. It inspires its beholders with feelings of innocence and purity; it makes them like little children. And so true is this, that at the age of sixty-six, after having had the joy of contemplating it closely for three hours, I felt myself suddenly transformed into a little child. While my cab was taking me through Trafalgar Square I kept laughing and prattling and shaking my spectacle-case as if it were a rattle. And when the maid in my boarding-house had served my meal I kept pouring spoonfuls of soup into my ear with all the artlessness of childhood.”

  “It is by such results,” adds MacSilly, “that the excellence of a work of art is proved.”

  Margaritone, according to Vasari, died at the age of seventy-seven, “regretting that he had lived to see a new form of art arising and the new artists crowned with fame.”

  These lines, which I translate literally, have inspired Sir James Tuckett with what are perhaps the finest pages in his work. They form part of his “Breviary for Aesthetes”; all the Pre-Raphaelites know them by heart. I place them here as the most precious ornament of this book. You will agree that nothing more sublime has been written since the days of the Hebrew prophets.

  MARGARITONE’S VISION

  Margaritone, full of years and labours, went one day to visit the studio of a young painter who had lately settled in the town. He noticed in the studio a freshly painted Madonna, which, although severe and rigid, nevertheless, by a certain exactness in the proportions and a devilish mingling of light and shade, assumed an appearance of relief and life. At this sight the artless and sublime worker of Arezzo perceived with horror what the future of painting would be. With his brow clasped in his hands he exclaimed:

  “What things of shame does not this figure show forth! I discern in it the end of that Christian art which paints the soul and inspires the beholder with an ardent desire for heaven. Future painters will not restrain themselves as does this one to portraying on the side of a wall or on a wooden panel the cursed matter of which our bodies are formed; they will celebrate and glorify it. They will clothe their figures with dangerous appearances of flesh, and these figures will seem like real persons. Their bodies will be seen; their forms will appear through their clothing. St. Magdalen will have a bosom. St. Martha a belly, St. Barbara hips, St. Agnes buttocks; St. Sebastian will unveil his youthful beauty, and St. George will display beneath his armour the muscular wealth of a robust virility; apostles, confessors, doctors, and God the Father himself will appear as ordinary beings like you and me; the angels will affect an equivocal, ambiguous, mysterious beauty which will trouble hearts. What desire for heaven will these representations impart? None; but from them you will learn to take pleasure in the forms of terrestrial life. Where will painters stop in their indiscreet inquiries? They will stop nowhere. They will go so far as to show men and women naked like the idols of the Romans. There will be a sacred art and a profane art, and the sacred art will not be less profane than the other.”

  “Get ye behind me, demons,” exclaimed the old master. For in prophetic vision he saw the righteous and the saints assuming the appearance of melancholy athletes. He saw Apollos playing the lute on a flowery hill, in the midst of the Muses wearing light tunics. He saw Venuses lying under shady myrtles and the Danae exposing their charming sides to the golden rain. He saw pictures of Jesus under the pillar’s of the temple amidst patricians, fair ladies, musicians, pages, negroes, dogs, and parrots. He saw in an inextricable confusion of human limbs, outspread wings, and flying draperies, crowds of tumultuous Nativities, opulent Holy Families, emphatic Crucifixions. He saw St. Catherines, St. Barbaras, St. Agneses humiliating patricians by the sumptuousness of their velvets, their brocades, and their pearls, and by the splendour of their breasts. He saw Auroras scattering roses, and a multitude of naked Dianas and Nymphs surprised on the banks of retired streams. And the great Margaritone died, strangled by so horrible a presentiment of the Renaissance and the Bolognese School.

  VI.

  MARBODIUS

  WE possess a precious monument of the Penguin literature of the fifteenth century. It is a narrative of a journey to hell undertaken by the monk Marbodius, of the order of St. Benedict, who professed a fervent admiration for the poet Virgil. This narrative, written in fairly good Latin, has been published by M. du Clos des Limes. It is here translated for the first time. I believe that I am doing a service to my fellow-countrymen in making them acquainted with these pages, though doubtless they are far from forming a unique example of this class of mediaeval Latin literature. Among the fictions that may be compared with them we may mention “The Voyage of St. Brendan,” “The Vision of Albericus,” and “St. Patrick’s Purgatory,” imaginary descriptions, like Dante Alighieri’s “Divine Comedy,” of the supposed abode of the dead. The narrative of Marbodius is one of the latest works dealing with this theme, but it is not the least singular.

  THE DESCENT OF MARBODIUS INTO HELL

  In the fourteen hundred and fifty-third year of the incarnation of the Son of God, a few days before the enemies of the Cross entered the city of Helena and the great Constantine, it was given to me, Brother Marbodius, an unworthy monk, to see and to hear what none had hitherto seen or heard. I have composed a faithful narrative of those things so that their memory may not perish with me, for man’s time is short.

  On the first day of May in the aforesaid year, at the hour of vespers, I was seated in the Abbey of Corrigan on a stone in the cloisters and, as my custom was, I read the verses of the poet whom I love best of all, Virgil, who has sung of the labours: of the field, of shepherds, and of heroes. Evening was hanging its purple folds from the arches of the cloisters and in a voice of emotion I was murmuring the verses which describe how Dido, the Phoenician queen, wanders with her ever-bleeding wound beneath the myrtles of hell. At that moment Brother Hilary happened to pass by, followed by Brother Jacinth, the porter.

  Brought up in the barbarous ages before the resurrection of the Muses, Brother Hilary has not been initiated into the wisdom of the ancients; nevertheless, the poetry of the Mantuan has, like a subtle torch, shed some gleams of light into his understanding.

  “Brother Marbodius,” he asked me, “do those verses that you utter with swelling breast and sparkling eyes—do they belong to that great ‘Aeneid’ from which morning or evening your glances are never withheld?”

  I answered that I was reading in Virgil how the son of Anchises perceived Dido like a moon behind the foliage.6

  “Brother Marbodius,” he replied, “I am certain that on all occasions Virgil gives expression to wise maxims and profound thoughts. But the songs that he modulates on his Syracusan flute hold such a lofty meaning and such exalted doctrine that I am continually puzzled by them.”

  “Take care, father,” cried Brother Jacinth, in an agitated voice. “Virgil was a magician who wrought marvels by the help of demons. It is thus he pierced through a mountain near Naples and fashioned a bronze horse that had power to heal all the diseases of horses. He was a necromancer, and there is still shown, in a certain town in Italy, the mirror in which he made the dead appear. And yet a woman deceived this great sorcerer. A Neapolitan courtesan invited him to hoist himself up to her window in the basket that was used to bring the provisions, and she left him all night suspended between two storeys.”

  Brother Hilary did not appear to hear these observations.

  “Virgil is a prophet,” he replied, “and a prophet who leaves far behind him the sibyls with their sacred verses as well as the daughter of King Priam, and that great diviner of future things, Plato of Athens. You will find in the fourth of his Syracusan cantos the birth of our Lord foretold in a lancune that seem
s of heaven rather than of earth.7 In the time of my early studies, when I read for the first time JAM REDIT ET VIRGO, I felt myself bathed in an infinite delight, but I immediately experienced intense grief at the thought that, for ever deprived of the presence of God, the author of this prophetic verse, the noblest that has come from human lips, was pining among the heathen in eternal darkness. This cruel thought did not leave me. It pursued me even in my studies, my prayers, my meditations, and my ascetic labours. Thinkin that Virgil was deprived of the sight of God and that possibly he might even be suffering the fate of the reprobate in hell, I could neither enjoy peace nor rest, and I went so far as to exclaim several times a day with my arms outstretched to heaven:

  “‘Reveal to me, O Lord, the lot thou hast assigned to him who sang on earth as the angels sing in heaven!’

  “After some years my anguish ceased when I read in an old book that the great apostle St. Paul, who called the Gentiles into the Church of Christ, went to Naples and sanctified with his tears the tomb of the prince of poets.8 This was some ground for believing that Virgil, like the Emperor Trajan, was admitted to Paradise because even in error he had a presentiment of the truth. We are not compelled to believe it, but I can easily persuade myself that it is true.”

  Having thus spoken, old Hilary wished me the peace of a holy night and went away with Brother Jacinth.

  I resumed the delightful study of my poet. Book in hand, I meditated upon the way in which those whom Love destroys with its cruel malady wander through the secret paths in the depth of the myrtle forest, and, as I meditated, the quivering reflections of the stars came and mingled with those of the leafless eglantines in the waters of the cloister fountain. Suddenly the lights and the perfumes and the stillness of the sky were overwhelmed, a fierce Northwind charged with storm and darkness burst roaring upon me. It lifted me up and carried me like a wisp of straw over fields, cities, rivers, and mountains, and through the midst of thunderclouds, during a long night composed of a whole series of nights and days. And when, after this prolonged and cruel rage, the hurricane was at last stilled, I found myself far from my native land at the bottom of a valley bordered by cypress trees. Then a woman of wild beauty, trailing long garments behind her, approached me. She placed her left hand on my shoulder, and, pointing her right arm to an oak with thick foliage:

  “Look!” said she to me.

  Immediately I recognised the Sibyl who guards the sacred wood of Avernus, and I discerned the fair Proserpine’s beautiful golden twig amongst the tufted boughs of the tree to which her finger pointed.

  “O prophetic Virgin,” I exclaimed, “thou hast comprehended my desire and thou hast satisfied it in this way. Thou hast revealed to me the tree that bears the shining twig without which none can enter alive into the dwelling-place of the dead. And in truth, eagerly did I long to converse with the shade of Virgil.”

  Having said this, I snatched the golden branch from its ancient trunk and I advanced without fear into the smoking gulf that leads to the miry banks of the Styx, upon which the shades are tossed about like dead leaves. At sight of the branch dedicated to Proserpine, Charon took me in his bark, which groaned beneath my weight, and I alighted on the shores of the dead, and was greeted by the mute baying of the threefold Cerberus. I pretended to throw the shade of a stone at him, and the vain monster fled into his cave. There, amidst the rushes, wandered the souls of those children whose eyes had but opened and shut to the kindly light of day, and there in a gloomy cavern Minos judges men. I penetrated into the myrtle wood in which the victims of love wander languishing, Phædra, Procris, the sad Eriphyle, Evadne, Pasiphæ, Laodamia, and Cenis, and the Phœnician Dido. Then I went through the dusty plains reserved for famous warriors. Beyond them open two ways. That to the left leads to Tartarus, the abode of the wicked. I took that to the right, which leads to Elysium and to the dwellings of Dis. Having hung the sacred branch at the goddess’s door, I reached pleasant fields flooded with purple light. The shades of philosophers and poets hold grave converse there. The Graces and the Muses formed sprightly choirs upon the grass. Old Homer sang, accompanying himself upon his rustic lyre. His eyes were closed, but divine images shone upon his lips. I saw Solon, Democritus, and Pythagoras watching the games of the young men in the meadow, and, through the foliage of an ancient laurel, I perceived also Hesiod, Orpheus, the melancholy Euripides, and the masculine Sappho. I passed and recognised, as they sat on the bank of a fresh rivulet, the poet Horace, Varius, Gallus, and Lycoris. A little apart,

  leaning against the trunk of a dark holm-oak, Virgil was gazing pensively at the grove. Of lofty stature, though spare, he still preserved that swarthy complexion, that rustic air, that negligent bearing, and unpolished appearance which during his lifetime concealed his genius. I saluted him piously and remained for a long time without speech.

  At last when my halting voice could proceed out of my throat:

  “O thou, so dear to the Ausonian Muses, thou honour of the Latin name, Virgil,” cried I, “it is through thee I have known what beauty is, it is through thee I have known what the tables of the gods and the beds of the goddesses are like. Suffer the praises of the humblest of thy adorers.”

  “Arise, stranger,” answered the divine poet. “I perceive that thou art a living being among the shades, and that thy body treads down the grass in this eternal evening. Thou art not the first man who has descended before his death into these dwellings, although all intercourse between us and the living is difficult. But cease from praise; I do not like eulogies and the confused sounds of glory have always offended my ears. That is why I fled from Rome, where I was known to the idle and curious, and laboured in the solitude of my beloved Parthenope. And then I am not so convinced that the men of thy generation understand my verses that should be gratified by thy praises. Who art thou?”

  “I am called Marbodius of the Kingdom of Alca. I made my profession in the Abbey of Corrigan. I read thy poems by day and I read them by night. It is thee whom I have come to see in Hell; I was impatient to know what thy fate was. On earth the learned often dispute about it. Some hold it probable that, having lived under the power of demons, thou art now burning in inextinguishable flames; others, more cautious, pronounce no opinion, believing that all which is said concerning the dead is uncertain and full of lies; several, though not in truth the ablest, maintain that, because thou didst elevate the tone of the Sicilian Muses and foretell that a new progeny would descend from heaven, thou wert admitted, like the Emperor Trajan, to enjoy eternal blessedness in the Christian heaven.”

  “Thou seest that such is not the case,” answered the shade, smiling.

  “I meet thee in truth, O Virgil, among the heroes and sages in those Elysian Fields which thou thyself hast described. Thus, contrary to what several on earth believe, no one has come to seek thee on the part of Him who reigns on high?”

  After a rather long silence:

  “I will conceal nought from thee. He sent for me; one of his messengers, a simple man, came to say that I was expected, and that, although I had not been initiated into their mysteries, in consideration of my prophetic verses, a place had been reserved for me among those of the new sect. But I refused to accept that invitation; I had no desire to change my lace. I did so not because I share the admiration of the Greeks for the Elysian fields, or because I taste here those joys which caused Proserpine to lose the remembrance of her mother. I never believed much myself in what I say about these things in the ‘Æneid.’ I was instructed by philosophers and men of science and I had a correct foreboding of the truth. Life in hell is extremely attenuated; we feel neither pleasure nor pain; we are as if we were not. The dead have no existence here except such as the living lend them. Nevertheless I prefer to remain here.”

  “But what reason didst thou give, O Virgil, for so strange a refusal?”

  “I gave excellent ones. I said to the messenger of the god that I did not deserve the honour he brought me, and that a meaning had been given to my verse
s which they did not bear. In truth I have not in my fourth Eclogue betrayed the faith of my ancestors. Some ignorant Jews alone have interpreted in favour of a barbarian god a verse which celebrates the return of the golden age predicted by the Sibylline oracles. I excused myself then on the ground that I could not occupy a place which was destined for me in error and to which I recognised that I had no right. Then I alleged my disposition and my tastes, which do not accord with the customs of the new heavens.

  “‘I am not unsociable,’ said I to this man. ‘I have shown in life a complaisant and easy disposition, although the extreme simplicity of my habits caused me to be suspected of avarice. I kept nothing for myself alone. My library was open to all and I have conformed my conduct to that fine saying of Euripides, “all ought to be common among friends.” Those praises that seemed obtrusive when I myself received them became agreeable to me when addressed to Varius or to Macer. But at bottom I am rustic and uncultivated. I take pleasure in the society of animals; I was so zealous in observing them and took so much care of them that I was regarded, not altogether wrongly, as a good veterinary surgeon. I am told that the people of thy sect claim an immortal soul for themselves, but refuse one to the animals. That is a piece of nonsense that makes me doubt their judgment. Perhaps I love the flocks and the shepherds a little too much. That would not seem right amongst you. There is a maxim to which I endeavour to conform my actions, “Nothing too much.” More even than my feeble health my philosophy teaches me to use things with measure. I am sober; a lettuce and some olives with a drop of Falernian wine form all my meals. I have, indeed, to some extent gone with strange women, but I have not delayed over long in taverns to watch the young Syrians dance to the sound of the crotalum.9 But if I have restrained my desires it was for my own satisfaction and for the sake of good discipline. To fear pleasure and to fly from joy appears to me the worst insult that one can offer to nature. I am assured that during their lives certain of the elect of thy god abstained from food and avoided women through love of asceticism, and voluntarily exposed themselves to useless sufferings. I should be afraid of meeting those, criminals whose frenzy horrifies me. A poet must not be asked to attach himself too strictly to any scientific or moral doctrine. Moreover, I am a Roman, and the Romans, unlike the Greeks, are unable to pursue profound speculations in a subtle manner. If they adopt a philosophy it is above all in order to derive some practical advantages from it. Siro, who enjoyed great renown among us, taught me the system of Epicurus and thus freed me from vain terrors and turned me aside from the cruelties to which religion persuades ignorant men. I have embraced the views of Pythagoras concerning the souls of men and animals, both of which are of divine essence; this invites us to look upon ourselves without pride and without shame. I have learnt from the Alexandrines how the earth, at first soft and without form, hardened in proportion as Nereus withdrew himself from it to dig his humid dwellings; I have learned how things were formed insensibly; in what manner the rains, falling from the burdened clouds, nourished the silent forests, and by what progress a few animals at last began to wander over the nameless mountains. I could not accustom myself to your cosmogony either, for it seems to me fitter for a camel-driver on the Syrian sands than for a disciple of Aristarchus of Samos. And what would become of me in the abode of your beatitude if I did not find there my friends, my ancestors, my masters, and my gods, and if it is not given to me to see Rhea’s noble son, or Venus, mother of Æneas, with her winning smile, or Pan, or the young Dryads, or the Sylvans, or old Silenus, with his face stained by Ægle’s purple mulberries.’ These are the reasons which I begged that simple man to plead before the successor of Jupiter.”