Joris-Karl Huysmans - Down There (Là-Bas)

"My dear, for heaven's sake," said madame, "spare us the details."

While Chantelouve was speaking, Durtal was watching him. He was small and rotund, with a bay window which his arms would not have gone around. He had rubicund cheeks, long hair very much pomaded, trailing in the back and drawn up in crescents along his temples. He had pink cotton in his ears. He was smooth shaven and looked like a pious but convivial notary. But his quick, calculating eye belied his jovial and sugary mien. One divined in his look the cool, unscrupulous man of affairs, capable, for all his honeyed ways, of doing one a bad turn.

"He must be aching to throw me into the street," said Durtal to himself, "because he certainly knows all about his wife's goings-on."

But if Chantelouve wished to be rid of his guest he did not show it. With his legs crossed and his hands folded one over the other, in the attitude of a priest, he appeared to be mightily interested in Durtal's work. Inclining a little, listening as if in a theatre, he said, "Yes, I know the material on the subject. I read a book some time ago about Gilles de Rais which seemed to me well handled. It was by abbé Bossard."

"It is the most complete and reliable of the biographies of the Marshal."

"But," Chantelouve went on, "there is one point which I never have been able to understand. I have never been able to explain to myself why the name Bluebeard should have been attached to the Marshal, whose history certainly has no relation to the tale of the good Perrault."

"As a matter of fact the real Bluebeard was not Gilles de Rais, but probably a Breton king, Comor, a fragment of whose castle, dating from the sixth century, is still standing, on the confines of the forest of Carnoet. The legend is simple. The king asked Guerock, count of Vannes, for the hand of his daughter, Triphine. Guerock refused, because he had heard that the king maintained himself in a constant state of widowerhood by cutting his wives' throats. Finally Saint Gildas promised Guerock to return his daughter to him safe and sound when he should reclaim her, and the union was celebrated.

"Some months later Triphine learned that Comor did indeed kill his consorts as soon as they became pregnant. She was big with child, so she fled, but her husband pursued her and cut her throat. The weeping father commanded Saint Gildas to keep his promise, and the Saint resuscitated Triphine.

"As you see, this legend comes much nearer than the history of our Bluebeard to the told tale arranged by the ingenious Perrault. Now, why and how the name Bluebeard passed from King Comor to the Marshal de Rais, I cannot tell. You know what pranks oral tradition can play."

"But with your Gilles de Rais you must have to plunge into Satanism right up to the hilt," said Chantelouve after a silence.

"Yes, and it would really be more interesting if these scenes were not so remote. What would have a timely appeal would be a study of the Diabolism of the present day."

"No doubt," said Chantelouve, pleasantly.

"For," Durtal went on, looking at him intently, "unheard-of things are going on right now. I have heard tell of sacrilegious priests, of a certain canon who has revived the sabbats of the Middle Ages."

Chantelouve did not betray himself by so much as a flicker of the eyelids. Calmly he uncrossed his legs and looking up at the ceiling he said, "Alas, certain scabby wethers succeed in stealing into the fold, but they are so rare as hardly to be worth thinking about." And he deftly changed the subject by speaking of a book he had just read about the Fronde.

Durtal, somewhat embarrassed, said nothing. He understood that Chantelouve refused to speak of his relations with Canon Docre.

"My dear," said Mme. Chantelouve, addressing her husband, "you have forgotten to turn up your lamp wick. It is smoking. I can smell it from here, even through the closed door."

She was most evidently conveying him a dismissal. Chantelouve rose and, with a vaguely malicious smile, excused himself as being obliged to continue his work. He shook hands with Durtal, begged him not to stay away so long in future, and gathering up the skirts of his dressing-gown he left the room.

She followed him with her eyes, then rose, in her turn, ran to the door, assured herself with a glance that it was closed, then returned to Durtal, who was leaning against the mantel. Without a word she took his head between her hands, pressed her lips to his mouth and opened it.

He grunted furiously.

She looked at him with indolent and filmy eyes, and he saw sparks of silver dart to their surface. He held her in his arms. She was swooning but vigilantly listening. Gently she disengaged herself, sighing, while he, embarrassed, sat down at a little distance from her, clenching and unclenching his hands.

They spoke of banal things: she boasting of her maid, who would go through fire for her, he responding only by gestures of approbation and surprise.

Then suddenly she passed her hands over her forehead. "Ah!" she said, "I suffer cruelly when I think that he is there working. No, it would cost me too much remorse. What I say is foolish, but if he were a different man, a man who went out more and made conquests, it would not be so bad."

He was irritated by the inconsequentiality of her plaints. Finally, feeling completely safe, he came closer to her and said, "You spoke of remorse, but whether we embark or whether we stand on the bank, isn't our guilt exactly the same?"

"Yes, I know. My confessor talks to me like that-only more severely-but I think you are both wrong."

He could not help laughing, and he said to himself, "Remorse is perhaps the condiment which keeps passion from being too unappetizing to the blasé." Then aloud he jestingly, "Speaking of confessors, if I were a casuist it seems to me I would try to invent new sins. I am not a casuist, and yet, having looked about a bit, I believe I have found a new sin."

"You?" she said, laughing in turn. "Can I commit it?"

He scrutinized her features. She had the expression of a greedy child.

"You alone can answer that. Now I must admit that the sin is not absolutely new, for it fits into the known category of lust. But it has been neglected since pagan days, and was never well defined in any case."

"Do not keep me in suspense. What is this sin?"

"It isn't easy to explain. Nevertheless I will try. Lust, I believe, can be classified into: ordinary sin, sin against nature, bestiality, and let us add demoniality and sacrilege. Well, there is, in addition to these, what I shall call Pygmalionism, which embraces at the same time cerebral onanism and incest.

"Imagine an artist falling in love with his child, his creation: with an Hérodiade, a Judith, a Helen, a Jeanne d'Arc, whom he has either described or painted, and evoking her, and finally possessing her in dream.

"Well, this love is worse than normal incest. In the latter sin the guilty one commits only a half-offence, because his daughter is not born solely of his substance, but also of the flesh of another. Thus, logically, in incest there is a quasi-natural side, almost licit, because part of another person has entered into the engendering of the corpus delicti ; while in Pygmalionism the father violates the child of his soul, of that which alone is purely and really his, which alone he can impregnate without the aid of another. The offence is, then, entire and complete. Now, is there not also disdain of nature, of the work of God, since the subject of the sin is no longer-as even in bestiality-a palpable and living creature, but an unreal being created by a projection of the desecrated talent, a being almost celestial, since, by genius, by artistry, it often becomes immortal?

"Let us go further, if you wish. Suppose that an artist depicts a saint and becomes enamoured of her. Thus we have complications of crime against nature and of sacrilege. An enormity!"