Dedalus would like to thank The French Community of Belgium for its assistance in publishing this book.
ABOUT THE TRANSLATORS
NICHOLAS ROYLE
Nicholas Royle is the author of five novels – Counterparts, Saxophone Dreams , The Matter of the Heart , The Director’s Cut and Antwerp – and one short story collection, Mortality . A novella, The Enigma of Departure , is forthcoming. Widely published as a journalist, he has also edited twelve anthologies.
He lives in Manchester with his wife and two children and lectures in creative writing at Manchester Metropolitan University.
MIKE MITCHELL
Mike Mitchell is one of Dedalus’s editorial directors and is responsible for the Dedalus translation programme. His publications include The Dedalus Book of Austrian Fantasy , Peter Hacks: Drama for a Socialist Society and Austria in the World Bibliographical Series .
His translation of Rosendorfer’s Letters Back to Ancient China won the 1998 Schlegel-Tieck Translation Prize after he had been shortlisted in previous years for his translations of Stephanie by Herbert Rosendorfer and The Golem by Gustav Meyrink. His translation of Simplicissimus was short-listed for The Weidenfeld Translation Prize in 1999 and The Other Side by Alfred Kubin in 2000. He has translated the following books for Dedalus from German: five novels by Gustav Meyrink, four novels by Herbert Rosendorfer, three novels by Johann Grimmelshausen, two novels by Hermann Ungar, The Great Bagarozy by Helmut Krausser, The Road to Darkness by Paul Leppin and The Other Side by Alfred Kubin.
From French he has translated for Dedalus two novels by Mercedes Deambrosis and two novels by Georges Rodenbach.
I would like to thank Renée Birks for her willing help in sorting out some of Rodenbach’s more abstruse expressions. Any remaining mistakes are, of course, all my own.
Mike Mitchell
CONTENTS
Title
Dedication
About the Translators
Thanks
Introduction
Part One Dream
Part Two Love
Part Three Action
Recommended Reading
Copyright
INTRODUCTION
Bruges. Brugge. A museum piece, a town out of time. Known throughout the world by its French name, despite its being located in the half of Belgium that doesn’t speak French – or not willingly. Indeed, this hauntingly beautiful, historic town is
the provincial capital of West Flanders, yet most of the world calls it Bruges, not Brugge, harking back to a time when French was the dominant language, at least among the middle classes.
During the city’s golden age, in the fifteenth century, Bruges was bustling with traders in wool, lace and diamonds, but when the Zwijn estuary began to silt up, trade moved 90 kilometres east to Antwerp. Bruges slowly died, then bravely geared up for its afterlife as a tourist attraction. British, French, German, American, Japanese – they all flock to Bruges.
Georges Rodenbach – Belgian novelist born Tournai 1855, died Paris 1898 – wrote the book on Bruges. It was he who pronounced the city dead. His 1892 novel Bruges-la-Morte painted an unforgettable picture of this strangely isolated, anachronistic town, cut off from the North Sea, geographically part of Flanders yet somehow separate, with its looping dead-end canals and winding narrow streets, its stepped gables and towering belfries.
Pealing bells and crying gulls. A murder of crows around the Belfort, a train of jackdaws between the windmills and the ramparts. Sometimes you’ll get a waft of the sea, often, but not exclusively, along the canals, even the occasional hint of the sewers, but if the town has a more pervasive smell it’s a strangely sweet one. Waffles, perhaps, or chocolate. Continental cigarettes, patisserie.
You hear Bruges as much as smell it. The slap of rubber on stone as cars and, predominantly, bicycles negotiate the cobbled streets and leafy squares. The babble of the rabble, tourist hordes speaking in many tongues. The hoteliers and bartenders, ticket sellers and turnstile operators will answer you, it seems, in whatever language you use to address them, but if English is your mother tongue, don’t try speaking to the Flemings in French.
You might as well address a Geordie in Gaelic.
You don’t have to take a trip to Bruges to get the most out of Rodenbach, but it certainly helps. They should stock him at the Eurostar terminal alongside the maps and guides. There’s no better place to read The Bells of Bruges than perched on a parapet by the canal outside Gruuthuse Palace or sitting comfortably in De Garre with a glass of draught Gouden Draak, the colour and consistency of melted muscovado sugar.
It would be a considerable understatement to say that Rodenbach’s 1892 work Bruges-la-Morte established the Belgian novelist as a writer with a sense of place. In it, the Flemish town becomes a character as important to the story as the principal personnages
. The same is equally true of Le Carillonneur (1897), now translated into English for the first time as The Bells of Bruges
.
Architect Joris Borluut wins a public contest to become the official town carillonneur. He is given the key to the belfry, and although happy to have won, feels a little like he has been
given the key to his own tomb. Borluut is given to introspection and melancholy, and the people of Bruges, ‘resigned to the town’s decline, the stagnant canals, the grey streets’, are described as having ‘found a taste for the melancholy sweetness of resignation’. Yet when Borluut plays the carillon, they are revitalised – ‘an ancient heroism still slumbered within the race, sparks resided in the inertia of the stones’. Thus are key elements of the narrative cleverly and subtly foretold in the first chapter – and likewise on into the second.
Borluut receives the congratulations of his friends – antiques dealer Van Hulle, lawyer and Flemish nationalist Farazyn, and painter Bartholomeus – at their regular weekly meeting at Van Hulle’s house on Zwarteleertouwerstraat. Van Hulle’s house is ‘an ancient building with a double gable whose brick façade was storiated with a bas-relief above the door representing a ship, its sails billowing out like breasts’. No such house stands on Zwarteleertouwerstraat today, though many of those on the north-east side of the street are lovely old buildings with the distinctive stepped gables. Two houses in particular are studded with weathered faces of angels and seafarers that peep out of the brickwork. ‘The centuries were carrying out their dreary work of dilapidation, the posies withered, the faces eaten away by erosion, as if by leprosy.’ Borluut’s restoration of Van Hulle’s façade brings him fame – ‘Everyone went to see and admire the miracle of rejuvenation which still retained the essential oldness …’ – and an endless amount of further restoration work throughout the town, which, to Borluut, is a ‘poem in stone, an illuminated reliquary’.
Van Hulle has two daughters – fiery, earthy Barbara and the more celestial, ethereal Godelieve. For Borluut, who falls in love with each daughter in turn, both are represented by particular bells in the bell-tower: Godelieve is embodied in ‘the little bell whose pure song at that time was soaring, dominating every piece on the carillon’, while Barbara is symbolised by the great Bell of Lust (‘He had looked up into the bell as if he were looking up her dress’).
The bells are not alone in being used as figurative symbols in Rodenbach’s vision. The canals are useful, too: ‘She stood between them like a canal between two stone embankments. The embankments are face to face, nevertheless apart and will never unite, but the waters mix their reflections, merge them, appear to join them together.’
Fittingly, the canals find further employment, standing in for a commodity rather more abstract. ‘Her love, which he had thought superficial and ephemeral, persisted, reappearing here and there like the water of the canal
s in the town.’
Of course, Symbolism is not solely about representation. Through dialogue between Borluut and the painter, Bartholomeus, Rodenbach explores the life of objects. ‘“I wanted to show that these
objects are sensitive,”’ says the artist, ‘“suffer at the coming of night, faint at the departure of the last rays, which, by the way, also live in this room; they suffer as much, they fight against the darkness. There you have it. It’s the life of things …”’ Borluut’s own insights into Bartholomeus’s character provide evidence of Rodenbach’s deeper interest. ‘His appeared to be a complex temperament. That was because he was close to the infinite. He naturally found mystical analogies, the eternal connections between things.’ Thus Rodenbach approaches the essence of Symbolism. A religious parade taking place in the town of Veurne towards the end of the novel offers further opportunity to explore the subject. ‘Indeed, all the symbols and emblems there were powerful, suggestive ways of putting things in a nutshell, allegories attesting to the Flemish sense of understanding the life of objects.’
The idea of objects having almost a life of their own is linked to Rodenbach’s insistence that the town is more than just an assemblage of stone and brick, something inert and soulless.
Borluut, not for the first time, becomes a mouthpiece for his creator’s theories when he is carried away with enthusiasm for Bartholomeus’s paintings. ‘It was not so much painting as an apparition, as if the centuries-old walls had opened up and one could finally see what the stones are dreaming .’
Not only does the town reflect the emotions and inner lives of its inhabitants, but so too are the residents conditioned by the bricks and the stone and the hazy northern light and the water of the canals. Bartholomeus says: ‘“The aesthetic quality of towns is essential. If, as has been said, every landscape is a frame of mind, then it is even more true of a townscape. The way the inhabitants think and feel corresponds to the town they live in.”’
If the theory is revealed to be something of an idée fixe , it is not alone. The novel is a story, or several stories, of obsession. Van Hulle amasses a huge collection of clocks because he is obsessed by the idea of hearing them all strike the hour precisely at the same time, and indeed, as the hour rings out from the bell-tower. Farazyn is driven by his vision of the town reborn as the seaport of Bruges, while Bartholomeus devotes himself to painting.
Borluut is obsessed, at various times, by his love for Barbara, for Godelieve and for the town itself. The one place where he can indulge all three obsessions is in the belfry, the single most important location in the novel and an essential destination for all those visiting Bruges with a copy of this book in their pocket.
Viewed from across the Markt, the belfry or Belfort is a staggering sight. It looks almost organic, with its three distinct sections, each part growing out of the one before, like some kind of extravagant sprouting plant. And yet, at the same
time, it could not be anything other than manmade and dizzyingly futuristic to boot: the world’s first 88-metre Gothic telescopic tower.
It’s an idea to go as early in the day as you can to avoid the crowds, although the experience of climbing the spiral steps retains an essential authenticity even when your progress is hindered by having to wait in doorways for people to pass.
Climbing the tower, it’s still possible to feel, as Godelieve does, like a captive: ‘It was like an uphill exercise yard, a vertical prison.’
The carillon itself is played on a keyboard with pedals and large keys. In a small exhibit on the first landing, you can see the keyboard that would have been in use during the time when Rodenbach was writing.
A room closer to the top of the tower is dominated by the enormous brass cylinder, pierced and studded, responsible for playing the automatic carillon that precedes the striking of the hour. The mechanism may put you in mind of a large piano roll or a giant musical box, but in this room, where the wires for the bells are attached to the mechanism, Borluut felt ‘he was seeing the anatomy of the tower. All its muscles, its sensory nerves were laid bare. The bell-tower extended its huge body upwards, downwards. But this was where its essential organs were gathered, its beating heart, the very heart of Flanders, whose pulsations among the ancient cogwheels the carillonneur was at that moment counting.’
When you reach the top of the bell-tower, having climbed 366
steps, you discover, as Godelieve does, that it is worth the effort. The views of the town are spectacular, even in the northern light (‘a vibrant light such as you get in the north where a kind of grey gauze turns the sun to silver’), and it’s easy to appreciate how coming up to the top of the tower makes Borluut feel high above the world, giving him the illusion of being distanced from ordinary mortals. ‘It was his immediate refuge, wiping his mind clear, and he would hurry up to the top to wash his bleeding heart in the clean air, like washing it in the sea.’
Being right at the highest point in the town is one thing, but being up there when the carillon rings out over the canals and streets and stepped gables (‘stairs to climb up to the land of dreams’) is quite another, with the bells swinging right above your head, playing music as beautiful as it is deafening. You know that everyone within earshot is either looking in your direction or holding in their mind’s eye an image of the tower.
The personification of the belfry – ‘Climbing it, Borluut was also raising himself up, becoming the belfry himself’ – makes perect sense.
Reading Bruges-la-Morte , you might think the 1892 novel represents the last word on Bruges literature. Not only will no one else steal Rodenbach’s crown, but he will be unlikely to surpass his own efforts should he attempt to do so. This fine translation of Le Carillonneur – an obsessive novel of obsession, an illuminating meditation on the nature of physical objects and human emotions – shows that he managed to do just that.
April 2007
PART ONE
DREAM
I
The Market Square in Bruges, usually deserted apart from the occasional passer-by, a straggle of poor children, a few priests or Beguines, had suddenly been enlivened by hesitant groups of people, gatherings forming dark blotches on the expanse of grey.
The contest for the office of town carillonneur had been set for the first Monday in October, the post having been made vacant by the death of old Baron de Vos, who had occupied it honourably for twenty years. It was to be filled that day, according to custom, by a public contest in which the townsfolk would decide the result by acclaiming the victor. That was why the Monday had been chosen, the weekday when all work ceased at noon, so that it shared something of the holiday mood of Sunday. Thus the choice could be truly popular and unanimous. Was it not right that the town carillonneur should be selected in that way? The carillon is, after all, the music of the people. Elsewhere, in the glittering capitals, public festivals are celebrated with fireworks, that magical offering that can thrill the very soul.
Here, in the meditative land of Flanders, among the damp mists so antagonistic to the brilliance of fire, the carillon takes their place. It is a display of fireworks that one hears : flares, rockets, showers, a thousand sparks of sound which colour the air for visionary eyes alerted by hearing.
So a crowd was gathering. From all the nearby streets, from Wollestraat, from Vlamingstraat, parties were constantly coming to join the groups which had arrived earlier. On these shortened days of early autumn the sun was already starting to go down. It bathed the square in a golden light, all the softer for being the last of the day. The sombre building of the Draper’s Hall, its severe rectangle, its mysterious walls apparently made from blocks of night, was glowing with a warm patina.
And the belfry, looming over all, rising higher than the roofs, was still basking in the full light of the setting sun, standing face to face with it. That made it look pink, above its black base, as if it were wearing make-up. The light was running, playing, flowing, moulding the pillars, the pointed arches of the
windo
ws, the pierced turrets, all the irregularities of stone; at other places it rippled in lithe sheets, like flags of luminous cloth, giving an appearance of fluid movement to the massive tower which usually rises in tiers of dark blocks where there are shadows, blood, wine lees and the dust of centuries … Now the setting sun was reflected in it as if in a pool; and the gold disc of the clock face half way up looked like a reflection of the sun itself.
The whole crowd had its eyes fixed on the clock face, waiting for the hour to strike, but calmly and in almost complete silence. A crowd is the sum of the faculty that predominates in each member and in everyone here the ability to remain silent is the greatest. And then, people are happy to stay quiet when they are waiting in expectation.
Yet the townsfolk, poor and rich alike, had hurried there to witness the contest. The windows were full of onlookers, as were the crowsteps that formed slender stairways flanking the gables of the Market Square, which seemed truly aquiver with splashes of colour. The gold lion of Bouchoute House glittered, while the old façade to which it clings spread out its four stories, its flushed brickwork. Across the square the Governor’s Palace faced it with its stone lions, heraldic guardians of the old Flemish style, which had reproduced there a fine harmony of grey stone, sea-green leaded windows and slender pinnacles. At the top of the Gothic steps, beneath a crimson canopy, were the Governor of the Province and the aldermen of the town in their richly trimmed official dress, honouring with their presence this ceremony which is linked to those ancient memories of Flanders which are held most dear.
The hour of the contest was approaching.
The great bell kept on sounding its sonorous chimes. It was the Victory Bell, the bell of mourning, of glory, the Sunday bell which, cast in 1680, had resided up there since then and, like a great red heart, beat out the pulse of time in the clockwork of the tower. For an hour the great bell had been sending out its message to the four horizons, summoning. Abruptly the chimes slowed down, the intervals grew longer. A great silence. The hands on the clock face, which spend all day seeking then fleeing each other, were open at an obtuse angle. One or two minutes more and the hour of four would strike. Then, in the void left by the silence of the great bell, came the sound of a hesitant aubade, a chirping, the song of a nest awakening, scraps of melodic arpeggios.
The Bells of Bruges Page 1