Complete Works of Emile Zola (902 page)

The belated customer rose up, shivering, fumbled in the dark corner where he was seated for his walking-stick, and when the waiter had picked it up for him from under the seats he went away.

And Gagniere rambled on:

‘Berlioz has mingled literature with his work. He is the musical illustrator of Shakespeare, Virgil, and Goethe. But what a painter! — the Delacroix of music, who makes sound blaze forth amidst effulgent contrasts of colour. And withal he has romanticism in his brain, a religious mysticism that carries him away, an ecstasy that soars higher than mountain summits. A bad builder of operas, but marvellous in detached pieces, asking too much at times of the orchestra which he tortures, having pushed the personality of instruments to its furthest limits; for each instrument represents a character to him. Ah! that remark of his about clarionets: “They typify beloved women.” Ah! it has always made a shiver run down my back. And Chopin, so dandified in his Byronism; the dreamy poet of those who suffer from neurosis! And Mendelssohn, that faultless chiseller! a Shakespeare in dancing pumps, whose “songs without words” are gems for women of intellect! And after that — after that — a man should go down on his knees.’

There was now only one gas-lamp alight just above his head, and the waiter standing behind him stood waiting amid the gloomy, chilly void of the room. Gagniere’s voice had come to a reverential
tremolo
. He was reaching devotional fervour as he approached the inner tabernacle, the holy of holies.

‘Oh! Schumann, typical of despair, the voluptuousness of despair! Yes, the end of everything, the last song of saddened purity hovering above the ruins of the world! Oh! Wagner, the god in whom centuries of music are incarnated! His work is the immense ark, all the arts blended in one; the real humanity of the personages at last expressed, the orchestra itself living apart the life of the drama. And what a massacre of conventionality, of inept formulas! what a revolutionary emancipation amid the infinite! The overture of “Tannhauser,” ah! that’s the sublime hallelujah of the new era. First of all comes the chant of the pilgrims, the religious strain, calm, deep and slowly throbbing; then the voices of the sirens gradually drown it; the voluptuous pleasures of Venus, full of enervating delight and languor, grow more and more imperious and disorderly; and soon the sacred air gradually returns, like the aspiring voice of space, and seizes hold of all other strains and blends them in one supreme harmony, to waft them away on the wings of a triumphal hymn!’

‘I am going to shut up, sir,’ repeated the waiter.

Claude, who no longer listened, he also being absorbed in his own passion, emptied his glass of beer and cried: ‘Eh, old man, they are going to shut up.’

Then Gagniere trembled. A painful twitch came over his ecstatic face, and he shivered as if he had dropped from the stars. He gulped down his beer, and once on the pavement outside, after pressing his companion’s hand in silence, he walked off into the gloom.

It was nearly two o’clock in the morning when Claude returned to the Rue de Douai. During the week that he had been scouring Paris anew, he had each time brought back with him the feverish excitement of the day. But he had never before returned so late, with his brain so hot and smoky. Christine, overcome with fatigue, was asleep under the lamp, which had gone out, her brow resting on the edge of the table.

VIII

AT last Christine gave a final stroke with her feather-broom, and they were settled. The studio in the Rue de Douai, small and inconvenient, had only one little room, and a kitchen, as big as a cupboard, attached to it. They were obliged to take their meals in the studio; they had to live in it, with the child always tumbling about their legs. And Christine had a deal of trouble in making their few sticks suffice, as she wished to do, in order to save expense. After all, she was obliged to buy a second-hand bedstead; and yielded to the temptation of having some white muslin curtains, which cost her seven sous the metre. The den then seemed charming to her, and she began to keep it scrupulously clean, resolving to do everything herself, and to dispense with a servant, as living would be a difficult matter.

During the first months Claude lived in ever-increasing excitement. His peregrinations through the noisy streets; his feverish discussions on the occasion of his visits to friends; all the rage and all the burning ideas he thus brought home from out of doors, made him hold forth aloud even in his sleep. Paris had seized hold of him again; and in the full blaze of that furnace, a second youth, enthusiastic ambition to see, do, and conquer, had come upon him. Never had he felt such a passion for work, such hope, as if it sufficed for him to stretch out his hand in order to create masterpieces that should set him in the right rank, which was the first. While crossing Paris he discovered subjects for pictures everywhere; the whole city, with its streets, squares, bridges, and panoramas of life, suggested immense frescoes, which he, however, always found too small, for he was intoxicated with the thought of doing something colossal. Thus he returned home quivering, his brain seething with projects; and of an evening threw off sketches on bits of paper, in the lamp-light, without being able to decide by what he ought to begin the series of grand productions that he dreamt about.

One serious obstacle was the smallness of his studio. If he had only had the old garret of the Quai de Bourbon, or even the huge dining-room of Bennecourt! But what could he do in that oblong strip of space, that kind of passage, which the landlord of the house impudently let to painters for four hundred francs a year, after roofing it in with glass? The worst was that the sloping glazed roof looked to the north, between two high walls, and only admitted a greenish cellar-like light. He was therefore obliged to postpone his ambitious projects, and he decided to begin with average-sized canvases, wisely saying to himself that the dimensions of a picture are not a proper test of an artist’s genius.

The moment seemed to him favourable for the success of a courageous artist who, amidst the breaking up of the old schools, would at length bring some originality and sincerity into his work. The formulas of recent times were already shaken. Delacroix had died without leaving any disciples. Courbet had barely a few clumsy imitators behind him; their best pieces would merely become so many museum pictures, blackened by age, tokens only of the art of a certain period. It seemed easy to foresee the new formula that would spring from theirs, that rush of sunshine, that limpid dawn which was rising in new works under the nascent influence of the ‘open air’ school. It was undeniable; those light-toned paintings over which people had laughed so much at the Salon of the Rejected were secretly influencing many painters, and gradually brightening every palette. Nobody, as yet, admitted it, but the first blow had been dealt, and an evolution was beginning, which became more perceptible at each succeeding Salon. And what a stroke it would be if, amidst the unconscious copies of impotent essayists, amidst the timid artful attempts of tricksters, a master were suddenly to reveal himself, giving body to the new formula by dint of audacity and power, without compromise, showing it such as it should be, substantial, entire, so that it might become the truth of the end of the century!

In that first hour of passion and hope, Claude, usually so harassed by doubts, believed in his genius. He no longer experienced any of those crises, the anguish of which had driven him for days into the streets in quest of his vanished courage. A fever stiffened him, he worked on with the blind obstinacy of an artist who dives into his entrails, to drag therefrom the fruit that tortures him. His long rest in the country had endowed him with singular freshness of visual perception, and joyous delight in execution; he seemed to have been born anew to his art, and endowed with a facility and balance of power he had never hitherto possessed. He also felt certain of progress, and experienced great satisfaction at some successful bits of work, in which his former sterile efforts at last culminated. As he had said at Bennecourt, he had got hold of his ‘open air,’ that carolling gaiety of tints which astonished his comrades when they came to see him. They all admired, convinced that he would only have to show his work to take a very high place with it, such was its individuality of style, for the first time showing nature flooded with real light, amid all the play of reflections and the constant variations of colours.

Thus, for three years, Claude struggled on, without weakening, spurred to further efforts by each rebuff, abandoning nought of his ideas, but marching straight before him, with all the vigour of faith.

During the first year he went forth amid the December snows to place himself for four hours a day behind the heights of Montmartre, at the corner of a patch of waste land whence as a background he painted some miserable, low, tumble-down buildings, overtopped by factory chimneys, whilst in the foreground, amidst the snow, he set a girl and a ragged street rough devouring stolen apples. His obstinacy in painting from nature greatly complicated his work, and gave rise to almost insuperable difficulties. However, he finished this picture out of doors; he merely cleaned and touched it up a bit in his studio. When the canvas was placed beneath the wan daylight of the glazed roof, he himself was startled by its brutality. It showed like a scene beheld through a doorway open on the street. The snow blinded one. The two figures, of a muddy grey in tint, stood out, lamentable. He at once felt that such a picture would not be accepted, but he did not try to soften it; he sent it to the Salon, all the same. After swearing that he would never again try to exhibit, he now held the view that one should always present something to the hanging committee if merely to accentuate its wrong-doing. Besides, he admitted the utility of the Salon, the only battlefield on which an artist might come to the fore at one stroke. The hanging committee refused his picture.

The second year Claude sought a contrast. He selected a bit of the public garden of Batignolles in May; in the background were some large chestnut trees casting their shade around a corner of greensward and several six-storied houses; while in front, on a seat of a crude green hue, some nurses and petty cits of the neighbourhood sat in a line watching three little girls making sand pies. When permission to paint there had been obtained, he had needed some heroism to bring his work to a successful issue amid the bantering crowd. At last he made up his mind to go there at five in the morning, in order to paint in the background; reserving the figures, he contented himself with making mere sketches of them from nature, and finishing them in his studio. This time his picture seemed to him less crude; it had acquired some of the wan, softened light which descended through the glass roof. He thought his picture accepted, for all his friends pronounced it to be a masterpiece, and went about saying that it would revolutionise the Salon. There was stupefaction and indignation when a fresh refusal of the hanging committee was rumoured. The committee’s intentions could not be denied: it was a question of systematically strangling an original artist. He, after his first burst of passion, vented all his anger upon his work, which he stigmatised as false, dishonest, and execrable. It was a well-deserved lesson, which he should remember: ought he to have relapsed into that cellar-like studio light? Was he going to revert to the filthy cooking of imaginary figures? When the picture came back, he took a knife and ripped it from top to bottom.

And so during the third year he obstinately toiled on a work of revolt. He wanted the blazing sun, that Paris sun which, on certain days, turns the pavement to a white heat in the dazzling reflection from the house frontages. Nowhere is it hotter; even people from burning climes mop their faces; you would say you were in some region of Africa beneath the heavily raining glow of a sky on fire. The subject Claude chose was a corner of the Place du Carrousel, at one o’clock in the afternoon, when the sunrays fall vertically. A cab was jolting along, its driver half asleep, its horse steaming, with drooping head, vague amid the throbbing heat. The passers-by seemed, as it were, intoxicated, with the one exception of a young woman, who, rosy and gay under her parasol, walked on with an easy queen-like step, as if the fiery element were her proper sphere. But what especially rendered this picture terrible was a new interpretation of the effects of light, a very accurate decomposition of the sunrays, which ran counter to all the habits of eyesight, by emphasising blues, yellows and reds, where nobody had been accustomed to see any. In the background the Tuileries vanished in a golden shimmer; the paving-stones bled, so to say; the figures were only so many indications, sombre patches eaten into by the vivid glare. This time his comrades, while still praising, looked embarrassed, all seized with the same apprehensions. Such painting could only lead to martyrdom. He, amidst their praises, understood well enough the rupture that was taking place, and when the hanging committee had once more closed the Salon against him, he dolorously exclaimed, in a moment of lucidity:

‘All right; it’s an understood thing — I’ll die at the task.’

However, although his obstinate courage seemed to increase, he now and then gradually relapsed into his former doubts, consumed by the struggle he was waging with nature. Every canvas that came back to him seemed bad to him — above all incomplete, not realising what he had aimed at. It was this idea of impotence that exasperated him even more than the refusals of the hanging committee. No doubt he did not forgive the latter; his works, even in an embryo state, were a hundred times better than all the trash which was accepted. But what suffering he felt at being ever unable to show himself in all his strength, in such a master-piece as he could not bring his genius to yield! There were always some superb bits in his paintings. He felt satisfied with this, that, and the other. Why, then, were there sudden voids? Why were there inferior bits, which he did not perceive while he was at work, but which afterwards utterly killed the picture like ineffaceable defects? And he felt quite unable to make any corrections; at certain moments a wall rose up, an insuperable obstacle, beyond which he was forbidden to venture. If he touched up the part that displeased him a score of times, so a score of times did he aggravate the evil, till everything became quite muddled and messy.