II
Our first halting-place is Orange, a white and charming little town, filling up its ancient girdle with many an ample space of green garden and lush meadow. Few towns appear more provincial than this charming Orange, which gave William the Silent to the cause of the Reform, a dynasty to Holland, and a king to England. There were princes in Orange long before the Nassau: there was the House of Baux, with its pretensions to the Empire of the East; there was the House of Adhémar, which brought forth the noble Guillaume d’Orange, the peer of Charlemagne. Of all their glory naught remains save one meagre wall, one tumbling buttress surmounting the hill above the city. Compared with the beautiful amphitheatre beneath, still important and majestic as in the days of the Roman occupation, these remains of chivalry appear little more venerable than the ruins of the jerry-built villas of some demolished London suburb. Yet as we look at them an emotion awakes in our heart and a mist comes before our eyes that Roman antiquity does not evoke. For the monuments of the Middle Ages are other than of stone.
And we remember how, in the beautiful old romance of Guillaume d’Orange, the unhappy hero comes home to his castle wounded, after Roncesvalles, the only living knight of all his host, and sounds the horn that hangs before the castle gate. But the porter will not admit him: none may enter in the absence of the master, and no man of all his garrison recognizes the hero in this poor man, suddenly aged and pinched and grey, seated on a varlet’s nag, with nothing martial in his mien. Their discussion brings the Countess on to the battlements: “That—my husband! My husband is young and valiant. My husband would come a conqueror, leading tribes of captives, covered with glory and honour.” Then, seated still on his poor nag, outside his inaccessible castle, the Count of Orange tells the story of Roncesvalles, and how he alone escaped the carnage of that day. “Less than ever my husband!” cries the Countess. “My husband would not have lived when all those heroes died.” But at last he persuades her that he is in very truth himself, and she consents to take him and tend his wounds on his promise that, so soon as he can ride to battle, he will set forth again, to avenge the death of all his comrades.
“Le monde est vide depuis les Romains,” said St. Just. Beneath the ruins of that castle on the hill there stands, erect, eternal, built into the very frame-work of the cliff, the immense theatre of the Romans, still fit for service, resonant to every tone. Frequently, of late years, many thousands of people have gathered in the Amphitheatre, which serves on all great municipal occasions. But I prefer it as we saw it yesterday—its sweep of steps graciously mantled in long grass growing for hay, and full of innumerable flowers; its stage tenanted by bushes of red roses and white guelder roses; the blue empty circles of its wall-space outlined serenely against the flame-blue sky. Never have I seen the huge strength of Roman antiquity appear more sweetly venerable, more assimilable to the unshaken granite structure of the globe itself, than thus, decked and garlanded with the transitory blossoms of its eighteen-hundredth spring.
The front wall of the theatre is about one hundred feet in height, thirteen feet thick, and more than three hundred feet in length. The colony of Arausio was an important colony, remembered only now by the monuments of its pleasures and its triumph. When we shall have disappeared for near two thousand years, what will remain to tell our story? Our Gothic churches are immense and beautiful, but already, in their infancy of nine or seven centuries, they are falling into ruin. Our castles will go the way of the Castle of Orange; and of our pleasure-houses the oldest that I remember is the little flimsy seventeenth-century theatre of Parma, already quite a miracle of cardboard antiquity. We have built too high, or too thin, or too delicately. We have read too long in our prayer-books that here we have no abiding city. Our souls have no capacity to imitate that great solid souvenir of civic use, of pleasure, of triumph, which the Romans have left behind them in all their provinces. About ten minutes’ walk from the theatre, on the other side of Orange, stands the Roman Arch of Triumph, the most beautiful in Gaul. It is perfect in its great perspective, as it rises from the meadow-grass at the end of a shadowy avenue. On its sculptured sides the trophies of ancient battle are still clear, and on its frieze the violent struggle of men in battle—
“Et tristis summo captivus in arcu.”
The Romans have left behind them in Provence not only a series of unalterable monuments, but the type of their race. Up country, in the little farms, a Celtic strain prevails, but in every town we find the square-built Roman frame and classic features.
We end our afternoon by a long drive through the fertile plain of Orange, all the brighter for the severeness of its setting, for the spires and hedges of cypress, for the gaunt dim blue of the distant mountains. The spring is luxuriant and ample here. The hedges toss their fragrant boughs of may: the Japanese peonies are pink in every garden, the quince-orchards seem a bower of tiny roses, the purple flags are out by all the watercourses: but the prettiest sight of all is on the grass. Even in Italy I have never seen such hay-meadows, with their great golden trails of buttercups, their sheets of snow-white narcissus, springing innumerable and very tall above the grass. There are little children and boys, and tall young girls, grown women and men of all ages, in the fields gathering great posies of the delicious flowers. Never have I seen so bright a picture of the sheer joy of living, the mere gladness of the spring’s revival. It seems to us that we have driven by some happy byway into the Golden Age, into some idyl of old Greece.