The Three Cities Trilogy: Paris

bottom-sceptics of discreet and good-natured average views. Of course they are professors before everything else, though they are a trifle ashamed of it; and, as professors, they judge things with no little pedantic irony, devoured by a spirit of criticism, and quite incapable of creating anything themselves. I should certainly be astonished to see the man of genius whom we await come out of their ranks. To my thinking, indeed, it would be preferable that some barbarian genius, neither well read nor endowed with critical faculty, or power of weighing and shading things, should come and open the next century with a hatchet stroke, sending up a fine flare of truth and reality. . . . But, as for my comrades of the Scientific Section, I assure you that neo-Catholicism and Mysticism and Occultism, and every other branch of the fashionable phantasmagoria trouble them very little indeed. They are not making a religion of science, they remain open to doubt on many points; but they are mostly men of very clear and firm minds, whose passion is the acquirement of certainty, and who are ever absorbed in the investigations which continue throughout the whole vast field of human knowledge. They haven't flinched, they have remained Positivists, or Evolutionists, or Determinists, and have set their faith in observation and experiment to help on the final conquest of the world.'

Francois himself was growing excited, as he thus confessed his faith while strolling along the quiet sunlit garden paths. 'The young indeed!' he resumed. 'Do people know them? It makes us laugh when we see all sorts of apostles fighting for us, trying to attract us, and saying that we are white or black or grey, according to the hue which they require for the triumph of their particular ideas! The young, the real ones, why, they're in the schools, the laboratories and the libraries. It's they who work and who'll bring to-morrow to the world. It's not the young fellows of dinner and supper clubs, manifestoes and all sorts of extravagances. The latter make a great deal of noise, no doubt; in fact, they alone are heard. But if you knew of the ceaseless efforts and passionate striving of the others, those who remain silent, absorbed in their tasks. And I know many of them: they are with their century, they have rejected none of its hopes, but are marching on to the coming century, resolved to pursue the work of their forerunners, ever going towards more light and more equity. And just speak to them of the bankruptcy of science. They'll shrug their shoulders at the mere idea, for they know well enough that science has never before inflamed so many hearts or achieved greater conquests! It is only if the schools, laboratories and libraries were closed, and the social soil radically changed, that one would have cause to fear a fresh growth of error such as weak hearts and narrow minds hold so dear!'

At this point Francois's fine flow of eloquence was interrupted. A tall young fellow stopped to shake hands with him; and Pierre was surprised to recognise Baron Duvillard's son Hyacinthe, who bowed to him in very correct style. 'What! you here in our old quarter,' exclaimed Francois.

'My dear fellow, I'm going to Jonas's, over yonder, behind the Observatory. Don't you know Jonas? Ah! my dear fellow, he's a delightful sculptor, who has succeeded in doing away with matter almost entirely. He has carved a figure of Woman, no bigger than the finger, and entirely soul, free from all baseness of form, and yet complete. All Woman, indeed, in her essential symbolism! Ah! it's grand, it's overpowering. A perfect scheme of aesthetics, a real religion!'

Francois smiled as he looked at Hyacinthe, buttoned up in his long pleated frock-coat, with his made-up face, and carefully cropped hair and beard. 'And yourself?' said he, 'I thought you were working, and were going to publish a little poem, shortly?'

'Oh! the task of creating is so distasteful to me, my dear fellow! A single line often takes me weeks. . . . Still, yes, I have a little poem on hand, 'The End of Woman.' And you see, I'm not so exclusive as some people pretend, since I admire Jonas, who still believes in Woman. His excuse is sculpture, which, after all, is at best such a gross materialistic art. But in poetry, good heavens, how we've been overwhelmed with Woman, always Woman! It's surely time to drive her out of the temple, and cleanse it a little. Ah! if we were all pure and lofty enough to do without Woman, and renounce all those horrid sexual questions, so that the last of the species might die childless, eh? The world would then at least finish in a clean and proper manner!'

Thereupon, Hyacinthe walked off with his languid air, well pleased with the effect which he had produced on the others.

'So you know him?' said Pierre to Francois.

'He was my school-fellow at Condorcet, we were in the same classes together. Such a funny fellow he was! A perfect dunce! And he was always making a parade of Father Duvillard's millions, while pretending to disdain them, and act the revolutionist, for ever saying that he'd use his cigarette to fire the cartridge which was to blow up the world! He was Schopenhauer, and Nietzsche, and Tolstoi, and Ibsen, rolled into one! And you can see what he has become with it all: a humbug with a diseased mind!'

'It's a terrible symptom,' muttered Pierre, 'when through ennui or lassitude, or the contagion of destructive fury, the sons of the happy and privileged ones start doing the work of the demolishers.'

Francois had resumed his walk, going down towards the ornamental water, where some children were sailing their boats. 'That fellow is simply grotesque,' he replied; 'but how would you have sane people give any heed to that mysticism, that awakening of spirituality which is alleged by the same doctrinaires who started the bankruptcy of science cry, when after so brief an evolution it produces such insanity, both in art and literature? A few years of influence have sufficed; and now Satanism, Occultism and other absurdities are flourishing; not to mention that, according to some accounts, the Cities of the Plains are reconciled with new Rome. Isn't the tree judged by its fruits? And isn't it evident that, instead of a renascence, a far-spreading social movement bringing back the past, we are simply witnessing a transitory reaction, which many things explain? The old world would rather not die, and is struggling in a final convulsion, reviving for a last hour before it is swept away by the overflowing river of human knowledge, whose waters ever increase. And yonder, in the future, is the new world, which the real young ones will bring into existence, those who work, those who are not known, who are not heard. And yet, just listen! Perhaps you will hear them, for we are among them, in their 'quarter.' This deep silence is that of the labour of all the young fellows who are leaning over their work-tables, and day by day carrying forward the conquest of truth.'

So saying Francois waved his hand towards all the day-schools and colleges and high schools beyond the Luxembourg garden, towards the Faculties of Law and Medicine, the Institute and its five Academies, the innumerable libraries and museums which made up the broad domain of intellectual labour. And Pierre, moved by it all, shaken in his theories of negation, thought that he could indeed hear a low but far-spreading murmur of the work of thousands of active minds, rising from laboratories, studies and class, reading and lecture rooms. It was not like the jerky, breathless trepidation, the loud clamour of factories where manual labour toils and chafes. But here, too, there were sighs of weariness, efforts as killing, exertion as fruitful in its results. Was it indeed true that the cultured young were still and ever in their silent forge, renouncing no hope, relinquishing no conquest, but in full freedom of mind forging the truth and justice of to-morrow with the invincible hammers of observation and experiment?

Francois, however, had raised his eyes to the palace clock to ascertain the time. 'I'm going to Montmartre,' he said; 'will you come part of the way with me?'

Pierre assented, particularly as the young man added that on his way he meant to call for his brother Antoine at the Museum of the Louvre. That bright afternoon the Louvre picture galleries were steeped in warm and dignified quietude, which one particularly noticed on coming from the tumult and scramble of the streets. The majority of the few people one found there were copyists working in deep silence, which only the wandering footsteps of an occasional tourist disturbed. Pierre and Francois found Antoine at the end of the gallery assigned to the Primitive masters. With scrupulous, almost devout care he was making a drawing of a figure by Mantegna. The Primitives did not impassion him by reason of any particular mysticism and ideality, such as fashion pretends to find in them, but on the contrary, and justifiably enough, by reason of the sincerity of their ingenuous realism, their respect and modesty in presence of nature, and the minute fidelity with which they sought to transcribe it. He spent days of hard work in copying and studying them, in order to learn strictness and probity of drawing from them-all that lofty distinction of style which they owe to their candour as honest artists.

Pierre was struck by the pure glow which a sitting of good hard work had set in Antoine's light blue eyes. It imparted warmth and even feverishness to his fair face, which was usually all dreaminess and gentleness. His lofty forehead now truly looked like a citadel armed for the conquest of truth and beauty. He was only eighteen, and his story was simply this: as he had grown disgusted with classical studies and been mastered by a passion for drawing, his father had let him leave the Lycee Condorcet when he was in the third class there. Some little time had then elapsed while he felt his way and the deep originality within him was being evolved. He had tried etching on