BOUVARD & PÉCUCHET. Gustave Flaubert
not so big, it is true, but more luscious. I require them to give me a reason for this! And not only each kind demands its particular attentions, but still more each individual tree, according to climate, temperature, and a heap of things! Where, then, is the rule? and what hope have we of any success or profit?”
Bouvard replied to him, “You will see in Gasparin that the profit cannot exceed the tenth of the capital. Therefore, we should be doing better by investing this capital in a banking-house. At the end of fifteen years, by the accumulation of interest, we’d have it doubled, without having our constitutions ground down.”
Pécuchet hung down his head.
“Arboriculture may be a humbug!”
“Like agriculture!” replied Bouvard.
Then they blamed themselves for having been too ambitious, and they resolved to husband thenceforth their labour and their money. An occasional pruning would suffice for the orchard. The counter-espaliers were forbidden, and dead or fallen trees should not be replaced; but he was going to do a nasty job — nothing less than to destroy all the others which remained standing. How was he to set about the work?
Pécuchet made several diagrams, while using his mathematical case. Bouvard gave him advice. They arrived at no satisfactory result. Fortunately, they discovered amongst their collection of books Boitard’s work entitled L’Architecte des Jardins.
The author divides them into a great number of styles. First there is the melancholy and romantic style, which is distinguished by immortelles, ruins, tombs, and “a votive offering to the Virgin, indicating the place where a lord has fallen under the blade of an assassin.” The terrible style is composed of overhanging rocks, shattered trees, burning huts; the exotic style, by planting Peruvian torch-thistles, “in order to arouse memories in a colonist or a traveller.” The grave style should, like Ermenonville, offer a temple to philosophy. The majestic style is characterised by obelisks and triumphal arches; the mysterious style by moss and by grottoes; while a lake is appropriate to the dreamy style. There is even the fantastic style, of which the most beautiful specimen might have been lately seen in a garden at Würtemberg — for there might have been met successively a wild boar, a hermit, several sepulchres, and a barque detaching itself from the shore of its own accord, in order to lead you into a boudoir where waterspouts lave you when you are settling yourself down upon a sofa.
Before this horizon of marvels, Bouvard and Pécuchet experienced a kind of bedazzlement. The fantastic style appeared to them reserved for princes. The temple to philosophy would be cumbersome. The votive offering of the Madonna would have no signification, having regard to the lack of assassins, and — so much the worse for the colonists and the travellers — the American plants would cost too much. But the rocks were possible, as well as the shattered trees, the immortelles, and the moss; and in their enthusiasm for new ideas, after many experiments, with the assistance of a single man-servant, and for a trifling sum, they made for themselves a residence which had no analogy to it in the entire department.
The elm hedge, open here and there, allowed the light of day to fall on the thicket, which was full of winding paths in the fashion of a labyrinth. They had conceived the idea of making in the espalier wall an archway, through which the prospect could be seen. As the arch could not remain suspended, the result was an enormous breach and a fall of wreckage to the ground.
They had sacrificed the asparagus in order to build on the spot an Etruscan tomb, that is to say, a quadrilateral figure in dark plaster, six feet in height, and looking like a dog-hole. Four little pine trees at the corners flanked the monument, which was to be surmounted by an urn and enriched by an inscription.
In the other part of the kitchen garden, a kind of Rialto projected over a basin, presenting on its margin encrusted shells of mussels. The soil drank up the water — no matter! they would contrive a glass bottom which would keep it back.
The hut had been transformed into a rustic summer-house with the aid of coloured glass.
At the top of the hillock, six trees, cut square, supported a tin headpiece with the edges turned up, and the whole was meant to signify a Chinese pagoda.
They had gone to the banks of the Orne to select granite, and had broken it, marked the pieces with numbers, and carried them back themselves in a cart, then had joined the fragments together with cement, placing them one above the other in a mass; and in the middle of the grass arose a rock resembling a gigantic potato.
Something further was needed to complete the harmony. They pulled down the largest linden tree they had (however, it was three quarters dead), and laid it down the entire length of the garden, in such a way that one would imagine it had been carried thither by a torrent or levelled to the ground by a thunderstorm.
The task finished, Bouvard, who was on the steps, cried from a distance:
“Here! you can see best!” — “See best!” was repeated in the air.
Pécuchet answered:
“I am going there!” — “Going there!”
“Hold on! ‘Tis an echo!” — “Echo!”
The linden tree had hitherto prevented it from being produced, and it was assisted by the pagoda, as it faced the barn, whose gables rose above the row of trees.
In order to try the effect of the echo, they amused themselves by giving vent to comical phrases: Bouvard yelled out language of a blackguard description.
He had been several times at Falaise, under the pretence of going there to receive money, and he always came back with little parcels, which he locked up in the chest of drawers. Pécuchet started one morning to repair to Bretteville, and returned very late with a basket, which he hid under his bed. Next day, when he awoke, Bouvard was surprised. The first two yew trees of the principal walk, which the day before were still spherical, had the appearance of peacocks, and a horn with two porcelain knobs represented the beak and the eyes. Pécuchet had risen at dawn, and trembling lest he should be discovered, he had cut the two trees according to the measurement given in the written instructions sent him by Dumouchel.
For six months the others behind the two above mentioned assumed the forms of pyramids, cubes, cylinders, stags, or armchairs; but there was nothing equal to the peacocks. Bouvard acknowledged it with many eulogies.
Under pretext of having forgotten his spade, he drew his comrade into the labyrinth, for he had profited by Pécuchet’s absence to do, himself too, something sublime.
The gate leading into the fields was covered over with a coating of plaster, under which were ranged in beautiful order five or six bowls of pipes, representing Abd-el-Kader, negroes, naked women, horses’ feet, and death’s-heads.
“Do you understand my impatience?”
“I rather think so!”
And in their emotion they embraced each other.
Like all artists, they felt the need of being applauded, and Bouvard thought of giving a great dinner.
“Take care!” said Pécuchet, “you are going to plunge into entertainments. It is a whirlpool!”
The matter, however, was decided. Since they had come to live in the country, they had kept themselves isolated. Everybody, through eagerness to make their acquaintance, accepted their invitation, except the Count de Faverges, who had been summoned to the capital by business. They fell back on M. Hurel, his factotum.
Beljambe, the innkeeper, formerly a chef at Lisieux, was to cook certain dishes; Germaine had engaged the services of the poultry-wench; and Marianne, Madame Bordin’s servant-girl, would also come. Since four o’clock the range was wide open; and the two proprietors, full of impatience, awaited their guests.
Hurel stopped under the beech row to adjust his frock-coat. Then the curé stepped forward, arrayed in a new cassock, and, a second later, M. Foureau, in a velvet waistcoat. The doctor gave his arm to his wife, who walked with some difficulty, assisting herself with her parasol. A stream of red ribbons fluttered behind them — it was the cap of Madame Bordin,