Complete Works of Anatole France

by Anatole France

  And striking with her finger a dark, bare bell which gave a faint sound:

  “This one,” she said, “is a holy village-bell of the fifth century. She is a spiritual daughter of Saint Paulin de Nole, who was the first to make the sky sing over our heads. The metal is rare. Soon I will show to you a gentle Florentine, the queen of bells. She is coming. But I bore you, darling, with my babble. And I bore, too, the good Madame Marmet. It is wrong.”

  She escorted them to their rooms.

  An hour later, Madame Martin, rested, fresh, in a gown of foulard and lace, went on the terrace where Miss Bell was waiting for her. The humid air, warmed by the sun, exhaled the restless sweetness of spring. Therese, resting on the balustrade, bathed her eyes in the light. At her feet, the cypress-trees raised their black distaffs, and the olive-trees looked like sheep on the hills. In the valley, Florence extended its domes, its towers, and the multitudes of its red roofs, through which the Arno showed its undulating line. Beyond were the soft blue hills.

  She tried to recognize the Boboli Gardens, where she had walked at her first visit; the Cascine, which she did not like; the Pitti Palace. Then the charming infinity of the sky attracted her. She looked at the forms in the clouds.

  After a long silence, Vivian Bell extended her hand toward the horizon.

  “Darling, I do not know how to say what I wish. But look, darling, look again. What you see there is unique in the world. Nature is nowhere else so subtle, elegant, and fine. The god who made the hills of Florence was an artist. Oh, he was a jeweller, an engraver, a sculptor, a bronze-founder, and a painter; he was a Florentine. He did nothing else in the world, darling. The rest was made by a hand less delicate, whose work was less perfect. How can you think that that violet hill of San Miniato, so firm and so pure in relief, was made by the author of Mont Blanc? It is not possible. This landscape has the beauty of an antique medal and of a precious painting. It is a perfect and measured work of art. And here is another thing that I do not know how to say, that I can not even understand, but which is a real thing. In this country I feel — and you will feel as I do, darling — half alive and half dead; in a condition which is sad, noble, and very sweet. Look, look again; you will realize the melancholy of those hills that surround Florence, and see a delicious sadness ascend from the land of the dead.”

  The sun was low over the horizon. The bright points of the mountain-peaks faded one by one, while the clouds inflamed the sky. Madame Marmet sneezed.

  Miss Bell sent for some shawls, and warned the French women that the evenings were fresh and that the night-air was dangerous.

  Then suddenly she said:

  “Darling, you know Monsieur Jacques Dechartre? Well, he wrote to me that he would be at Florence next week. I am glad Monsieur Jacques Dechartre is to meet you in our city. He will accompany us to the churches and to the museums, and he will be a good guide. He understands beautiful things, because he loves them. And he has an exquisite talent as a sculptor. His figures in medallions are admired more in England than in France. Oh, I am so glad Monsieur Jacques Dechartre and you are to meet at Florence, darling!”

  CHAPTER IX. CHOULETTE FINDS A NEW FRIEND

  She next day, as they were traversing the square where are planted, in imitation of antique amphitheatres, two marble pillars, Madame Marmet said to the Countess Martin:

  “I think I see Monsieur Choulette.”

  Seated in a shoemaker’s shop, his pipe in his hand, Choulette was making rhythmic gestures, and appeared to be reciting verses. The Florentine cobbler listened with a kind smile. He was a little, bald man, and represented one of the types familiar to Flemish painters. On a table, among wooden lasts, nails, leather, and wax, a basilic plant displayed its round green head. A sparrow, lacking a leg, which had been replaced by a match, hopped on the old man’s shoulder and head.

  Madame Martin, amused by this spectacle, called Choulette from the threshold. He was softly humming a tune, and she asked him why he had not gone with her to visit the Spanish chapel.

  He arose and replied:

  “Madame, you are preoccupied by vain images; but I live in life and in truth.”

  He shook the cobbler’s hand and followed the two ladies.

  “While going to church,” he said, “I saw this old man, who, bending over his work, and pressing a last between his knees as in a vise, was sewing coarse shoes. I felt that he was simple and kind. I said to him, in Italian: ‘My father, will you drink with me a glass of Chianti?’ He consented. He went for a flagon and some glasses, and I kept the shop.”

  And Choulette pointed to two glasses and a flagon placed on a stove.

  “When he came back we drank together; I said vague but kind things to him, and I charmed him by the sweetness of sounds. I will go again to his shop; I will learn from him how to make shoes, and how to live without desire. After which, I shall not be sad again. For desire and idleness alone make us sad.”

  The Countess Martin smiled.

  “Monsieur Choulette, I desire nothing, and, nevertheless, I am not joyful. Must I make shoes, too?”

  Choulette replied, gravely:

  “It is not yet time for that.”

  When they reached the gardens of the Oricellari, Madame Marmet sank on a bench. She had examined at Santa Maria-Novella the frescoes of Ghirlandajo, the stalls of the choir, the Virgin of Cimabue, the paintings in the cloister. She had done this carefully, in memory of her husband, who had greatly liked Italian art. She was tired. Choulette sat by her and said:

  “Madame, could you tell me whether it is true that the Pope’s gowns are made by Worth?”

  Madame Marmet thought not. Nevertheless, Choulette had heard people say this in cafes. Madame Marmet was astonished that Choulette, a Catholic and a socialist, should speak so disrespectfully of a pope friendly to the republic. But he did not like Leo XIII.

  “The wisdom of princes is shortsighted,” he said; “the salvation of the Church must come from the Italian republic, as Leo XIII believes and wishes; but the Church will not be saved in the manner which this pious Machiavelli thinks. The revolution will make the Pope lose his last sou, with the rest of his patrimony. And it will be salvation. The Pope, destitute and poor, will then become powerful. He will agitate the world. We shall see again Peter, Lin, Clet, Anaclet, and Clement; the humble, the ignorant; men like the early saints will change the face of the earth. If to-morrow, in the chair of Peter, came to sit a real bishop, a real Christian, I would go to him, and say: ‘Do not be an old man buried alive in a golden tomb; quit your noble guards and your cardinals; quit your court and its similacrums of power. Take my arm and come with me to beg for your bread among the nations. Covered with rags, poor, ill, dying, go on the highways, showing in yourself the image of Jesus. Say, “I am begging my bread for the condemnation of the wealthy.” Go into the cities, and shout from door to door, with a sublime stupidity, “Be humble, be gentle, be poor!” Announce peace and charity to the cities, to the dens, and to the barracks. You will be disdained; the mob will throw stones at you. Policemen will drag you into prison. You shall be for the humble as for the powerful, for the poor as for the rich, a subject of laughter, an object of disgust and of pity. Your priests will dethrone you, and elevate against you an anti-pope, or will say that you are crazy. And it is necessary that they should tell the truth; it is necessary that you should be crazy; the lunatics have saved the world. Men will give to you the crown of thorns and the reed sceptre, and they will spit in your face, and it is by that sign that you will appear as Christ and true king; and it is by such means that you will establish Christian socialism, which is the kingdom of God on earth.’”

  Having spoken in this way, Choulette lighted one of those long and tortuous Italian cigars, which are pierced with a straw. He drew from it several puffs of infectious vapor, then he continued, tranquilly:

  “And it would be practical. You may refuse to acknowledge any quality in me except my clear view of situations. Ah, Madame Marmet, you will nev
er know how true it is that the great works of this world were always achieved by madmen. Do you think, Madame Martin, that if Saint Francis of Assisi had been reasonable, he would have poured upon the earth, for the refreshment of peoples, the living water of charity and all the perfumes of love?”

  “I do not know,” replied Madame Martin; “but reasonable people have always seemed to me to be bores. I can say this to you, Monsieur Choulette.”

  They returned to Fiesole by the steam tramway which goes up the hill. The rain fell. Madame Marmet went to sleep and Choulette complained. All his ills came to attack him at once: the humidity in the air gave him a pain in the knee, and he could not bend his leg; his carpet-bag, lost the day before in the trip from the station to Fiesole, had not been found, and it was an irreparable disaster; a Paris review had just published one of his poems, with typographical errors as glaring as Aphrodite’s shell.

  He accused men and things of being hostile to him. He became puerile, absurd, odious. Madame Martin, whom Choulette and the rain saddened, thought the trip would never end. When she reached the house she found Miss Bell in the drawing-room, copying with gold ink on a leaf of parchment, in a handwriting formed after the Aldine italics, verses which she had composed in the night. At her friend’s coming she raised her little face, plain but illuminated by splendid eyes.

  “Darling, permit me to introduce to you the Prince Albertinelli.”

  The Prince possessed a certain youthful, godlike beauty, that his black beard intensified. He bowed.

  “Madame, you would make one love France, if that sentiment were not already in our hearts.”

  The Countess and Choulette asked Miss Bell to read to them the verses she was writing. She excused herself from reciting her uncertain cadence to the French poet, whom she liked best after Francois Villon. Then she recited in her pretty, hissing, birdlike voice.

  “That is very pretty,” said Choulette, “and bears the mark of Italy softly veiled by the mists of Thule.”

  “Yes,” said the Countess Martin, “that is pretty. But why, dear Vivian, did your two beautiful innocents wish to die?”

  “Oh, darling, because they felt as happy as possible, and desired nothing more. It was discouraging, darling, discouraging. How is it that you do not understand that?”

  “And do you think that if we live the reason is that we hope?”

  “Oh, yes. We live in the hope of what to-morrow, tomorrow, king of the land of fairies, will bring in his black mantle studded with stars, flowers, and tears. Oh, bright king, To-morrow!”

  BOOK 2.

  CHAPTER X. DECHARTRE ARRIVES IN FLORENCE

  They had dressed for dinner. In the drawing-room Miss Bell was sketching monsters in imitation of Leonard. She created them, to know what they would say afterward, sure that they would speak and express rare ideas in odd rhythms, and that she would listen to them. It was in this way that she often found her inspiration.

  Prince Albertinelli strummed on the piano the Sicilian ‘O Lola’! His soft fingers hardly touched the keys.

  Choulette, even harsher than was his habit, asked for thread and needles that he might mend his clothes. He grumbled because he had lost a needle-case which he had carried for thirty years in his pocket, and which was dear to him for the sweetness of the reminiscences and the strength of the good advice that he had received from it. He thought he had lost it in the hall devoted to historic subjects in the Pitti Palace; and he blamed for this loss the Medicis and all the Italian painters.

  Looking at Miss Bell with an evil eye, he said:

  “I compose verses while mending my clothes. I like to work with my hands. I sing songs to myself while sweeping my room; that is the reason why my songs have gone to the hearts of men, like the old songs of the farmers and artisans, which are even more beautiful than mine, but not more natural. I have pride enough not to want any other servant than myself. The sacristan’s widow offered to repair my clothes. I would not permit her to do it. It is wrong to make others do servilely for us work which we can do ourselves with noble pride.”

  The Prince was nonchalantly playing his nonchalant music. Therese, who for eight days had been running to churches and museums in the company of Madame Marmet, was thinking of the annoyance which her companion caused her by discovering in the faces of the old painters resemblances to persons she knew. In the morning, at the Ricardi Palace, on the frescoes of Gozzoli, she had recognized M. Gamin, M. Lagrange, M. Schmoll, the Princess Seniavine as a page, and M. Renan on horseback. She was terrified at finding M. Renan everywhere. She led all her ideas back to her little circle of academicians and fashionable people, by an easy turn, which irritated her friend. She recalled in her soft voice the public meetings at the Institute, the lectures at the Sorbonne, the evening receptions where shone the worldly and the spiritualist philosophers. As for the women, they were all charming and irreproachable. She dined with all of them. And Therese thought: “She is too prudent. She bores me.” And she thought of leaving her at Fiesole and visiting the churches alone. Employing a word that Le Menil had taught her, she said to herself:

  “I will ‘plant’ Madame Marmet.”

  A lithe old man came into the parlor. His waxed moustache and his white imperial made him look like an old soldier; but his glance betrayed, under his glasses, the fine softness of eyes worn by science and voluptuousness. He was a Florentine, a friend of Miss Bell and of the Prince, Professor Arrighi, formerly adored by women, and now celebrated in Tuscany for his studies of agriculture. He pleased the Countess Martin at once. She questioned him on his methods, and on the results he obtained from them. He said that he worked with prudent energy. “The earth,” he said, “is like women. The earth does not wish one to treat it with either timidity or brutality.” The Ave Maria rang in all the campaniles, seeming to make of the sky an immense instrument of religious music. “Darling,” said Miss Bell, “do you observe that the air of Florence is made sonorous and silvery at night by the sound of the bells?”

  “It is singular,” said Choulette, “we have the air of people who are waiting for something.”

  Vivian Bell replied that they were waiting for M. Dechartre. He was a little late; she feared he had missed the train.

  Choulette approached Madame Marmet, and said, gravely “Madame Marmet, is it possible for you to look at a door — a simple, painted, wooden door like yours, I suppose, or like mine, or like this one, or like any other — without being terror-stricken at the thought of the visitor who might, at any moment, come in? The door of one’s room, Madame Marmet, opens on the infinite. Have you ever thought of that? Does one ever know the true name of the man or woman, who, under a human guise, with a known face, in ordinary clothes, comes into one’s house?”

  He added that when he was closeted in his room he could not look at the door without feeling his hair stand on end. But Madame Marmet saw the doors of her rooms open without fear. She knew the name of every one who came to see her — charming persons.

  Choulette looked at her sadly, and said, shaking his head: “Madame Marmet, those whom you call by their terrestrial names have other names which you do not know, and which are their real names.”

  Madame Martin asked Choulette if he thought that misfortune needed to cross the threshold in order to enter one’s life.

  “Misfortune is ingenious and subtle. It comes by the window, it goes through walls. It does not always show itself, but it is always there. The poor doors are innocent of the coming of that unwelcome visitor.”

  Choulette warned Madame Martin severely that she should not call misfortune an unwelcome visitor.

  “Misfortune is our greatest master and our best friend. Misfortune teaches us the meaning of life. Madame, when you suffer, you know what you must know; you believe what you must believe; you do what you must do; you are what you must be. And you shall have joy, which pleasure expels. True joy is timid, and does not find pleasure among a multitude.”

  Prince Albertinelli said that Miss Bell and he
r French friends did not need to be unfortunate in order to be perfect, and that the doctrine of perfection reached by suffering was a barbarous cruelty, held in horror under the beautiful sky of Italy. When the conversation languished, he prudently sought again at the piano the phrases of the graceful and banal Sicilian air, fearing to slip into an air of Trovatore, which was written in the same manner.

  Vivian Bell questioned the monsters she had created, and complained of their absurd replies.

  “At this moment,” she said, “I should like to hear speak only figures on tapestries which should say tender things, ancient and precious as themselves.”

  And the handsome Prince, carried away by the flood of melody, sang. His voice displayed itself like a peacock’s plumage, and died in spasms of “ohs” and “ahs.”

  The good Madame Marmet, her eyes fixed on the door, said:

  “I think that Monsieur Dechartre is coming.”

  He came in, animated, with joy on his usually grave face.

  Miss Bell welcomed him with birdlike cries.

  “Monsieur Dechartre, we were impatient to see you. Monsieur Choulette was talking evil of doors — yes, of doors of houses; and he was saying also that misfortune is a very obliging old gentleman. You have lost all these beautiful things. You have made us wait very long, Monsieur Dechartre. Why?”

  He apologized; he had taken only the time to go to his hotel and change his dress. He had not even gone to bow to his old friend the bronze San Marco, so imposing in his niche on the San Michele wall. He praised the poetess and saluted the Countess Martin with joy hardly concealed.

  “Before quitting Paris I went to your house, where I was told you had gone to wait for spring at Fiesole, with Miss Bell. I then had the hope of finding you in this country, which I love now more than ever.”

  She asked him whether he had gone to Venice, and whether he had seen again at Ravenna the empresses wearing aureolas, and the phantoms that had formerly dazzled him.