Chapter 5. La Butte

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_ CHAPTER V. LA BUTTE

To-morrow I shall drive to breakfast, seeing Paris continuously unfolding, prospect after prospect, green swards, white buildings, villas engarlanded; to-day I drive to breakfast through the white torridities of Rue Blanche. The back of the coachman grows drowsier, and would have rounded off into sleep long ago had it not been for the great paving stones that swing the vehicle from side to side, and we have to climb the Rue Lepic, and the poor little fainting animal will never be able to draw me to the Butte. So I dismiss my carriage, half out of pity, half out of a wish to study the Rue Lepic, so typical is it of the upper lower classes. In the Rue Blanche there are _portes-cocheres_, but in Rue Lepic there are narrow doors, partially grated, open on narrow passages at the end of which, squeezed between the wall and the stairs, are small rooms where _concierges_ sit, eternally _en camisole_, amid vegetables and sewing. The wooden blinds are flung back on the faded yellow walls, revealing a portion of white bed-curtain and a heavy middle-aged woman, _en camisole_, passing between the cooking stove, in which a rabbit in a tin pail lies steeping, and the men sitting at their trades in the windows. The smell of leather follows me for several steps; a few doors farther a girl sits trimming a bonnet, her mother beside her. The girl looks up, pale with the exhausting heat. At the corner of the next street there is the _marchand de vins_, and opposite the dirty little _charbonnier_, and standing about a little hole which he calls his _boutique_ a group of women in discoloured _peignoirs_ and heavy carpet slippers. They have baskets on their arms. Everywhere traces of meagre and humble life, but nowhere do I see the demented wretch common in our London streets--the man with bare feet, the furtive and frightened creature, gnawing a crust and drawing a black, tattered shirt about his consumptive chest.

The asphalt is melting, the reverberation of the stones intolerable, my feet ache and burn. At the top of the street I enter a still poorer neighbourhood, a still steeper street, but so narrow that the shadow has already begun to draw out on the pavements. At the top of the street is a stairway, and above the stairway a grassy knoll, and above the knoll a windmill lifts its black and motionless arms. For the mill is now a mute ornament, a sign for the _Bal du Moulin de la Galette_.

As I ascend the street grows whiter, and at the Butte it is empty of everything except the white rays of noon. There are some dusty streets, and silhouetting against the dim sky a dilapidated facade of some broken pillars. Some stand in the midst of ruined gardens, circled by high walls crumbling and white, and looking through a broken gateway I see a fountain splashing, but nowhere the inhabitants that correspond to these houses--only a workwoman, a grisette, a child crying in the dust. The Butte Montmartre is full of suggestion; grand folk must at some time have lived there. Could it be that this place was once country? To-day it is full of romantic idleness and abandonment.

On my left an iron gateway, swinging on rusty hinges, leads on to a large terrace, at the end of which is a row of houses. It is in one of these houses that my friend lives, and as I pull the bell I think that the pleasure of seeing him is worth the ascent, and my thoughts float back over the long time I have known Paul. We have known each other always, since we began to write. But Paul is not at home. The servant comes to the door with a baby in her arms, another baby! and tells me that Monsieur et Madame are gone out for the day. No breakfast, no smoke, no talk about literature, only a long walk back--cabs are not found at these heights--a long walk back through the roasting sun. And it is no consolation to be told that I should have written and warned them I was coming.

But I must rest, and ask leave to do so, and the servant brings me in some claret and a siphon. The study is better to sit in than the front room, for in the front room, although the shutters are closed, the white rays pierce through the chinks, and lie like sword-blades along the floor. The study is pleasant and the wine refreshing. The house seems built on the sheer hillside. Fifty feet--more than that--a hundred feet under me there are gardens, gardens caught somehow in the hollow of the hill, and planted with trees, tall trees, for swings hang out of them, otherwise I should not know they were tall. From this window they look like shrubs, and beyond the houses that surround these gardens Paris spreads out over the plain, an endless tide of bricks and stone, splashed with white when the sun shines on some railway station or great boulevard: a dim reddish mass, like a gigantic brickfield, and far away a line of hills, and above the plain a sky as pale and faint as the blue ash of a cigarette.

I can never look upon this city without strong emotion; it has been all my life to me. I came here in my youth, I relinquished myself to Paris, never extending once my adventure beyond Bas Meudon, Ville d'Avray, Fontainebleau--and Paris has made me. How much of my mind do I owe to Paris? And by thus acquiring a fatherland more ideal than the one birth had arrogantly imposed, because deliberately chosen, I have doubled my span of life. Do I not exist in two countries? Have I not furnished myself with two sets of thoughts and sensations? Ah! the delicate delight of owning _un pays ami_--a country where you may go when you are weary to madness of the routine of life, sure of finding there all the sensations of home, plus those of irresponsible caprice. The pleasure of a literature that is yours without being wholly your own, a literature that is like an exquisite mistress, in whom you find consolation for all the commonplaces of life! The comparison is perfect, for although I know these French folk better than all else in the world, they must ever remain my pleasure, and not my work in life. It is strange that this should be so, for in truth I know them strangely well. I can see them living their lives from hour to hour; I know what they would say on any given occasion.

There is Paul. I understand nothing more completely than that man's mind. I know its habitual colour and every varying shade, and yet I may not make him the hero of a novel when I lay the scene in Montmartre, though I know it so well. I know when he dresses, how long he takes to dress, and what he wears. I know the breakfast he eats, and the streets down which he passes--their shape, their colour, their smell. I know exactly how life has come to him, how it has affected him. The day I met him in London! Paul in London! He was there to meet _une petite fermiere_ with whom he had become infatuated when he went to Normandy to finish his novel. Paul is _foncierement bon; he married her_, and this is their abode. There is the _salle-a-manger_, furnished with a nice sideboard in oak, and six chairs to match; on the left is their bedroom, and there is the baby's cot, a present from _le grand, le cher et illustre maitre_.

Paul and Mrs. Paul get up at twelve, and they loiter over breakfast; some friends come in and they loiter over les _petits verres_. About four Paul begins to write his article, which he finishes or nearly finishes before dinner. They loiter over dinner until it is time for Paul to take his article to the newspaper. He loiters in the printing office or the cafe until his proof is ready, and when that is corrected he loiters in the many cafes of the Faubourg Montmartre, smoking interminable cigars, finding his way back to the Butte between three and four in the morning. Paul is fat and of an equable temperament. He believes in naturalism all the day, particularly after a breakfast over _les petits verres_. He never said an unkind word to any one, and I am sure never thought one. He used to be fond of grisettes, but since he married he has thought of no one but his wife. _Il ecrit des choses raides_, but no woman ever had a better husband. And now you know him as well as I do. Here are his own books, "The End of Lucie Pellegrin," the story that I have just finished writing: I think I must explain how it was that I have come to rewrite one of Paul's stories, the best he ever wrote. I remember asking him why he called her Lucie, and he was surprised to hear her name was Marie; he never knew her, he had never been to Alphonsine's, and he had told the story as he had picked it up from the women who turned into the Rat Mort at midnight for a _soupe a l'oignon_. He said it was a pity he did not know me when he was writing it, for I could have told him her story more sympathetically than the women in the Rat Mort, supplying him with many pretty details that they had never noticed or had forgotten. It would have been easy for me to have done this, for Marie Pellegrin is enshrined in my memory like a miniature in a case. I press a spring, and I see the beautifully shaped little head, the pale olive face, the dark eyes, and the blue-black hair. Marie Pellegrin is really part of my own story, so why should I have any scruple about telling it? Merely because my friend had written it from hearsay? Whereas I knew her; I saw her on her death-bed. Chance made me her natural historian. Now I think that every one will accept my excuses, and will acquit me of plagiarism.

I see the Rougon-Macquart series, each volume presented to him by the author, Goncourt, Huysmans, Duranty, Ceard, Maupassant, Hennique, etc.; in a word, the works of those with whom I grew up, those who tied my first literary pinafore round my neck. But here are "Les Moralites Legendaires" by Jules Laforgue, and "Les Illuminations" by Rambaud. Paul has not read these books; they were sent to him, I suppose, for review, and put away on the bookcase, all uncut; their authors do not visit here.

And this sets me thinking that one knows very little of any generation except one's own. True that I know a little more of the symbolists than Paul. I am the youngest of the naturalists, the eldest of the symbolists. The naturalists affected the art of painting, the symbolists the art of music; and since the symbolists there has been no artistic manifestation--the game is played out. When Huysmans and Paul and myself are dead, it will be as impossible to write a naturalistic novel as to revive the megatherium. Where is Hennique? When Monet is dead it will be as impossible to paint an impressionistic picture as to revive the ichthyosaurus. A little world of ideas goes by every five-and-twenty years, and the next that emerges will be incomprehensible to me, as incomprehensible as Monet was to Corot.... Was the young generation knocking at the door of the Opera Comique last night? If the music was the young generation, I am sorry for it. It was the second time I had gone. I had been to hear the music, and I left exasperated after the third act. A friend was with me and he left, but for different reasons; he suffered in his ears; it was my intelligence that suffered. Why did the flute play the chromatic scale when the boy said, "Il faut que cela soit un grand navire," and why were all the cellos in motion when the girl answered, "Cela ou bien tout autre chose?" I suffered because of the divorce of the orchestra and singers, uniting perhaps at the end of the scene. It was speaking through music, no more, monotonous as the Sahara, league after league, and I lost amid sands. A chord is heard in "Lohengrin" to sustain Elsa's voice, and it performs its purpose; a motive is heard to attract attention to a certain part of the story, and it fills its purpose, when Ortrud shrieks out the motive of the secret, and in its simplest form, at the church door, the method may be criticised as crude, but the crudest melodrama is better than this desert wandering. While I ponder on the music of the younger generation, remembering the perplexity it had caused me, I hear a vagrant singing on the other side of the terrace:

Moi, je m'en fous, Je reste dans mon trou

and I say: "I hear the truth in the mouth of the vagrant minstrel, one who possibly has no _trou_ wherein to lay his head." _Et moi aussi, je reste dans mon trou, et mon trou est assez beau pour que j'y reste, car mon trou est_--Richard Wagner. My _trou_ is the Ring--the Sacrosanct Ring. Again I fall to musing. The intention of Liszt and Wagner and Strauss was to write music. However long Wotan might ponder on Mother Earth the moment comes when the violins begin to sing; ah! how the spring uncloses in the orchestra, and the lovers fly to the woods!...

The vagrant continued his wail, and forgetful of Paul, forgetful of all things but the philosophy of the minstrel of the Butte, I picked my way down the tortuous streets repeating:

Moi, je m'en fous, Je reste dans mon trou _

Read next: Chapter 6. Spent Loves

Read previous: Chapter 4. The End Of Marie Pellegrin

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