Against the Grain. J.-K. Huysmans
room shortly before his arrival, he examined colored engravings, hung on the walls, which represented, just as at Lloyd's office and the steamship agencies, steamers bound for Valparaiso and La Platte, and looked at framed pictures on which were inscribed the itineraries of the Royal Mail Steam Packet, the Lopez and the Valery Companies, the freight and port calls of the Atlantic mail boats.
If he tired of consulting these guides, he could rest his eyes by gazing at the chronometers and sea compasses, the sextants, field glasses and cards strewn on a table on which stood a single volume, bound in sealskin. The book was "The Adventures of Arthur Gordon Pym", specially printed for him on laid paper, each sheet carefully selected, with a sea-gull watermark.
Or, he could look at fishing rods, tan-colored nets, rolls of russet sail, a tiny, black-painted cork anchor—all thrown in a heap near the door communicating with the kitchen by a passage furnished with cappadine silk which reabsorbed, just as in the corridor which connected the dining room with his study, every odor and sound.
Thus, without stirring, he enjoyed the rapid motions of a long sea voyage. The pleasure of travel, which only exists as a matter of fact in retrospect and seldom in the present, at the instant when it is being experienced, he could fully relish at his ease, without the necessity of fatigue or confusion, here in this cabin whose studied disorder, whose transitory appearance and whose seemingly temporary furnishings corresponded so well with the briefness of the time he spent there on his meals, and contrasted so perfectly with his study, a well-arranged, well-furnished room where everything betokened a retired, orderly existence.
Movement, after all, seemed futile to him. He felt that imagination could easily be substituted for the vulgar realities of things. It was possible, in his opinion, to gratify the most extravagant, absurd desires by a subtle subterfuge, by a slight modification of the object of one's wishes. Every epicure nowadays enjoys, in restaurants celebrated for the excellence of their cellars, wines of capital taste manufactured from inferior brands treated by Pasteur's method. For they have the same aroma, the same color, the same bouquet as the rare wines of which they are an imitation, and consequently the pleasure experienced in sipping them is identical. The originals, moreover, are usually unprocurable, for love or money.
Transposing this insidious deviation, this adroit deceit into the realm of the intellect, there was not the shadow of a doubt that fanciful delights resembling the true in every detail, could be enjoyed. One could revel, for instance, in long explorations while near one's own fireside, stimulating the restive or sluggish mind, if need be, by reading some suggestive narrative of travel in distant lands. One could enjoy the beneficent results of a sea bath, too, even in Paris. All that is necessary is to visit the Vigier baths situated in a boat on the Seine, far from the shore.
There, the illusion of the sea is undeniable, imperious, positive. It is achieved by salting the water of the bath; by mixing, according to the Codex formula, sulphate of soda, hydrochlorate of magnesia and lime; by extracting from a box, carefully closed by means of a screw, a ball of thread or a very small piece of cable which had been specially procured from one of those great rope-making establishments whose vast warehouses and basements are heavy with odors of the sea and the port; by inhaling these perfumes held by the ball or the cable end; by consulting an exact photograph of the casino; by eagerly reading the Joanne guide describing the beauties of the seashore where one would wish to be; by being rocked on the waves, made by the eddy of fly boats lapping against the pontoon of baths; by listening to the plaint of the wind under the arches, or to the hollow murmur of the omnibuses passing above on the Port Royal, two steps away.
The secret lies in knowing how to proceed, how to concentrate deeply enough to produce the hallucination and succeed in substituting the dream reality for the reality itself.
Artifice, besides, seemed to Des Esseintes the final distinctive mark of man's genius.
Nature had had her day, as he put it. By the disgusting sameness of her landscapes and skies, she had once for all wearied the considerate patience of æsthetes. Really, what dullness! the dullness of the specialist confined to his narrow work. What manners! the manners of the tradesman offering one particular ware to the exclusion of all others. What a monotonous storehouse of fields and trees! What a banal agency of mountains and seas!
There is not one of her inventions, no matter how subtle or imposing it may be, which human genius cannot create; no Fontainebleau forest, no moonlight which a scenic setting flooded with electricity cannot produce; no waterfall which hydraulics cannot imitate to perfection; no rock which pasteboard cannot be made to resemble; no flower which taffetas and delicately painted papers cannot simulate.
There can be no doubt about it: this eternal, driveling, old woman is no longer admired by true artists, and the moment has come to replace her by artifice.
Closely observe that work of hers which is considered the most exquisite, that creation of hers whose beauty is everywhere conceded the most perfect and original—woman. Has not man made, for his own use, an animated and artificial being which easily equals woman, from the point of view of plastic beauty? Is there a woman, whose form is more dazzling, more splendid than the two locomotives that pass over the Northern Railroad lines?
One, the Crampton, is an adorable, shrill-voiced blonde, a trim, gilded blonde, with a large, fragile body imprisoned in a glittering corset of copper, and having the long, sinewy lines of a cat. Her extraordinary grace is frightening, as, with the sweat of her hot sides rising upwards and her steel muscles stiffening, she puts in motion the immense rose-window of her fine wheels and darts forward, mettlesome, along rapids and floods.
The other, the Engerth, is a nobly proportioned dusky brunette emitting raucous, muffled cries. Her heavy loins are strangled in a cast-iron breast-plate. A monstrous beast with a disheveled mane of black smoke and with six low, coupled wheels! What irresistible power she has when, causing the earth to tremble, she slowly and heavily drags the unwieldy queue of her merchandise!
Unquestionably, there is not one among the frail blondes and majestic brunettes of the flesh that can vie with their delicate grace and terrific strength.
Such were Des Esseintes' reflections when the breeze brought him the faint whistle of the toy railroad winding playfully, like a spinning top, between Paris and Sceaux. His house was situated at a twenty minutes' walk from the Fontenay station, but the height on which it was perched, its isolation, made it immune to the clatter of the noisy rabble which the vicinity of a railway station invariably attracts on a Sunday.
As for the village itself, he hardly knew it. One night he had gazed through his window at the silent landscape which slowly unfolded, as it dipped to the foot of a slope, on whose summit the batteries of the Verrières woods were trained.
In the darkness, to left and right, these masses, dim and confused, rose tier on tier, dominated far off by other batteries and forts whose high embankments seemed, in the moonlight, bathed in silver against the sombre sky.
Where the plain did not fall under the shadow of the hills, it seemed powdered with starch and smeared with white cold cream. In the warm air that fanned the faded grasses and exhaled a spicy perfume, the trees, chalky white under the moon, shook their pale leaves, and seemed to divide their trunks, whose shadows formed bars of black on the plaster-like ground where pebbles scintillated like glittering plates.
Because of its enameled look and its artificial air, the landscape did not displease Des Esseintes. But since that afternoon spent at Fontenay in search of a house, he had never ventured along its roads in daylight. The verdure of this region inspired him with no interest whatever, for it did not have the delicate and doleful charm of the sickly and pathetic vegetation which forces its way painfully through the rubbish heaps of the mounds which had once served as the ramparts of Paris. That day, in the village, he had perceived corpulent, bewhiskered bourgeois citizens and moustached uniformed men with heads of magistrates and soldiers, which they held as stiffly as monstrances in churches. And ever since that encounter, his detestation of the human face had been augmented.
During the last month of his stay in Paris, when he was weary of everything, afflicted with hypochondria, the prey of melancholia, when his nerves had become so sensitive that the sight of an unpleasant object or person impressed itself