The Devil's Pool

THE DEVIL’S POOL
By George Sand
TRANSLATED FROM THE FRENCH BY JANE MINOT SEDGWICK AND ELLERY SEDGWICK
WITH AN ETCHING BY E. ABOT
BOSTON LITTLE, BROWN, & CO. 1901
Copyright, 1894, by George H. Richmond & Co.
THE DEVIL’S POOL
A la sueur de ton visaige,
Tu gagnerais ta pauvre vie.
Après long travail et usaige,
This quaint old French verse, written under one of Holbein’s pictures, is profoundly melancholy. The engraving represents a laborer driving his plow through the middle of a field. Beyond him stretches a vast horizon, dotted with wretched huts; the sun is sinking behind the hill. It is the end of a hard day’s work. The peasant is old, bent, and clothed in rags. He is urging onward a team of four thin and exhausted horses; the plowshare sinks into a stony and ungrateful soil. One being only is active and alert in this scene of toil and sorrow. It is a fantastic creature. A skeleton armed with a whip, who acts as plowboy to the old laborer, and running along through the furrow beside the terrified horses, goads them on. This is the specter Death, whom Holbein has introduced allegorically into that series of religious and philosophic subjects, at once melancholy and grotesque, entitled “The Dance of Death.”
In this collection, or rather this mighty composition, where Death, who plays his part on every page, is the connecting link and predominating thought, Holbein has called up kings, popes, lovers, gamesters, drunkards, nuns, courtesans, thieves, warriors, monks, Jews, and travelers,—all the people of his time and our own; and everywhere the specter Death is among them, taunting, threatening, and triumphing. He is absent from one picture only, where Lazarus, lying on a dunghill at the rich man’s door, declares that the specter has no terrors for him; probably because he has nothing to lose, and his existence is already a life in death.