GAUTIER AND THE EAST
The East as a means of expression.
The East is an invention of the nineteenth century. We have only to look at the works of Voltaire or of Goldsmith to see that the Orient did not exist before the time of the Romantic movement. To early writers it meant nothing but polygamy, moguls, elephants, and 'bonzes,' and the eighteenth-century translation of the Arabian Nights did little more than supply an entertaining form to an ironical philosopher. Even when it became the fashion to make imaginary Orientals expose the follies of the West, the East had not yet become alive for us. We find scarcely a hint in the hundred and twenty letters of The Citizen of the World that it meant more than a dialectical expression for topsy-turvydom, a place to which you could refer as to Lilliput or to Brobdingnag, useful like the x of algebra in illustrating the properties of other things. The first glimmerings of discovery are in Beckford's Vathek, an extravagant book, belittled by a schoolboyish humour—as when the Caliph plays football with the rotund figure of the Indian Magician—but written by a man to whom the East did really mean some sort of gorgeous dream.
For the East is not an expression of philosophy, or of geography, but of temperament; it is a dream that has led many to leave their people for its people, their homes for desert tents, in the effort to turn its conventions into realities of life. Men have fallen in love with it, as they have fallen in love with statues or with the beautiful women of pictures. It means more than itself, like a man whom time has lifted into Godhead. It has been given the compelling power of a religion. I believe it was an invention made possible by the discovery of local colour. With the emphasis of local colour came an emphasised difference in places. Minds only mildly preferring one place to another when both were vague, most vigorously preferred one or other place when both were realised in vivid detail, and could be readily compared. Fastidious minds seeking the stage-properties of expression could choose them in the booths of all the world. Men who did not care for the settings of their own lives were able to fill out their dim Arcadias with detail, and vein their phantom goddesses with blood.
The East, when Gautier was growing up in the rich tastes of the Romantic movement, was ready to supply the most delicious conventions. Goethe had shown its possibilities. It was there like a many-coloured curtain behind which he could build a world less entangled, less unmanageable than his own. Its newness must not be forgotten in considering his use of it, and in thinking of his use of Antiquity we must remember that it was as novel as the East.
The Antique.
Now the Antique was one of the cudgels with which the Classicists tried to beat the heads of the Romanticists in the battles of that time. It did not mean to Gautier what it meant to them. Its metamorphosis was simultaneous with the birth of the East, and had almost the same cause. Insisting on local colour in places, the Romanticists insisted also on local colour in humanity. Cromwell was to be allowed to say that he had the parliament in his bag and the king in his pocket. Cæsar was to be allowed to talk like a man and even to be one. So that for Gautier Antiquity meant not a cold inhumanity that had been beautiful, but a warm, full-blooded life that worshipped simple, energetic gods, and found expression in a thousand ways other than the speech of blank verse and heroic actions that had been so often represented in pictures of an annoying timidity of colouring. The East and the Antique together had been touched as if by magic, and turned from the abstract into the concrete, from the heroic into the human, and so into the very material for personal expression.
The East and Arcadia.
Gautier's attitude towards the East is not unlike that of the Elizabethans towards Arcadia. Sir Philip Sidney, courtier, soldier, and busy statesman, wrote in terms of shepherds, shepherdesses, and shipwrecked princes, and worked in an ideal atmosphere where no cares were greater than love, or a thorn in a lamb's foot. He, with
'A sweet attractive kinde of grace
A full assurance given by lookes,
Continual comfort in a face,
The lineaments of gospel bookes,'
seemed to belong to that Golden Age which has never been now, but always long ago. And Gautier, busy writer of articles and travel-books, massive and vividly alive, could not persuade himself to be Parisian and contemporary. Nor would it be extravagant to compare him with the pastoral writers of to-day, Celtic and Gaelic, who like him lift their emotions into a simpler, more congenial atmosphere, and like him insist continually on the local colour of their dreams. These writers, sitting in London or in Edinburgh, hear, without moving from their comfortable chairs, the cry of the curlew on the moor, and are transported to a quiet bay, half enclosed by cliffs, 'in two white curves, like the wings of the solander when she hollows them as she breasts the north wind,' and under the spells of an intenser imagined life find their own emotions more vivid and more easily expressed. Gautier, sitting in Paris, sees the swallows fluttering about the roofs and flying south in autumn.
'Je comprends tout ce qu'elles disent,
Car le poète est un oiseau;
Mais captif ses élans se brisent
Contre un invisible réseau!
Des ailes! des ailes! des ailes!
Comme dans le chant de Ruckert,
Pour voler, là-bas avec elles
Au soleil d'or, au printemps vert!'
That cry for wings is the keynote of his most passionately beautiful work. When he is at his best; when he is not projecting young men with a mathematical freedom of morals into a Western society; in those moments when he is most himself, we hear clipped feathers beat against the bars. He sought to escape from Paris to the Enchanted Islands, and from the nineteenth century to the Golden Age. The Enchanted Islands he had identified with the East, and the Golden Age was the time of the Pharaohs or of the making of the Venus. As the Christian fingers his crucifix and is able to kneel upon the footsteps of the throne, so Gautier found talismans to help his dreams to their desires. A mummy's foot, a marble hand took him to the times he loved, or half revealed the perfections that reality refused. A curiosity shop was a postern-gate to heaven, and a merchant of antiquities held St. Peter's keys.
The story-telling of dreams.
His art is that of making his dreams come true. He is not an observer of life, like Richardson, Fielding, or De Maupassant. He does not copy the surface of contemporary existence; but cuts away all but passion, and clothes that in symbols whose strangeness disentangled it and helped him to make it real. Beautiful women step down to him from their tapestries, and, living on drops of his blood, come back to him out of their graves. The Princess Hermonthis claims her little foot that he has bought as a paper-weight, and takes him to the tomb of the Pharaohs and the pre-adamite kings sitting with their thousand peoples waiting for the final day. The Pompeian harlot is brought alive by the love of a youth for the imprint her perfect breasts have left in molten lava. He is ill at ease in his most famous Roman de la Momie until he has finished with the Englishman and the doctor, and is translating the scroll of papyrus buried three thousand years ago with Tahoser in the sarcophagus.
THÉOPHILE GAUTIER
Gautier the man.
But it is too easy to construct a man out of his work. It is more interesting to compare the man of this world with the man he would have liked to be, and the man he chose to express. Gautier was not pure dreamer. Though the world of his art was as far from the world of Paris, as the world of Mr. Yeats from the world of London or Dublin, he was not a seer, or a poet between whom and reality hung a veil of dreams. He was a solid man, one of whose proudest memories was a blow that registered five hundred and thirty-two pounds on an automatic instrument, the result of daily washing down five pounds of gory mutton with three bottles of red Bordeaux. He was a Porthos, and the Gautier of his stories, that gorgeous barbaric figure, was his boast, cherished as Porthos cherished his dignity. The traits he loved in himself were those that gave colour to his fiction. His olive skin, his strength, his vitality, his scorn of the religion of sacrifice—these were the details he caressed. He was never tired of insisting on everything that helped in this Oriental and Antique projection of himself. His hero in Mademoiselle de Maupin exclaims: 'I am a man of the Homeric times; the world where I live does not belong to me, and I do not understand the society about me. Christ has not yet come for me; I am as pagan as Alcibiades and Phidias.... I find the earth as beautiful as heaven, and I think that perfection of form is virtue. I love a statue better than a phantom, and full noon better than twilight. Three things please me: gold, marble and purple, splendour, solidity, colour.' When a reviewer described him as a being, 'fat, jovial, and sanguinary,' he quotes the description with gratitude, and explains gleefully that it refers to his taste for bull-fights. He begins a book: 'People have often caricatured us, dressed like a Turk, cross-legged on cushions.... The caricature is only an exaggeration of the truth.' That was how he liked to think of himself, and how he would like to be imagined. It is interesting to know that he was a kindly bear of a man, who was always called by his Christian name, and delighted in astonishing his friends with outbursts of genius served up in a joyous obscenity.
He was not a man of wealth as his work suggests; but an extremely industrious journalist. Like Balzac, he was proud of his prodigious activity. He confesses that he wrote about three hundred volumes: but that is the estimate of Porthos; his biographer puts the number at sixty. From his twenty-fifth year he was an artist on a treadmill, and only at every hundredth, or two hundredth, or three hundredth turn of the wheel could he escape for a little and try to satisfy himself. That is why his poems and shorter stories are the most perfect specimens of his later work. He needed things that could be roughed out in a sitting and carried about without risk until the time when he could work on them again. He was able to hurry out of sight his dozen sheets for the Presse or the Figaro, sit down on his cushions, let his fingers run through the long hair of a Persian cat, and turn over again and again one of the minute Enamels or Cameos of his poetry. In so small a space he could afford to be fastidious. He could take up the little thing a week later, and a month after that, and file and polish it to his content. It was the same with the stories. The story-telling Gautier was a Gautier on holiday.
He was a complete man, and could, in active life, have twisted the present if he had chosen. But he did not choose. As for politics, 'what does it matter whether one is ruled by a sabre, a sprinkler of holy-water, or an umbrella?' He has been censured for this, but the censure means no more than to say he was a perfect artist unfortunately not interested in local government. One does not ask a shoemaker if his soles and uppers are Socialist or only gentle Liberal. As for his own life, he worked hard, brought up his children, but found his emotions too intricate to please him. He had to separate them, and translate them into terms of another time and place. Modernity rattled past him, like the chariots of the king past the potter, who would not look up from his wheel lest an ugly curve should throw awry the vessel he was shaping. Gautier did his duty by this world and left it, discovering for others what Baudelaire called 'the consolation of the arts,' and finding peace himself in the less encumbered simplicity of his Ancient and Oriental Arcadia.
The flowers of the white narcissus.
His work was the construction of a paradise for himself in which other people are allowed to walk. His stories are a substitute for opium and haschisch, and take us into a world like that of old romance and myth, where we meet our own souls walking in strange clothes. 'Art,' says Santayana, 'so long as it needs to be a dream, will never cease to be a disappointment.' We leave a volume of Gautier as we leave the Mabinogion, or the Morte Darthur, or the Volsunga Saga, or a book of fairy-tales. We have to readjust ourselves before meeting the difficulties of life. But opposite Santayana's sentence we may set one from Mahomet. 'If any man have two loaves, let him sell one, and buy flowers of the white narcissus; for the one is food for the body and the other is food for the soul.' And perhaps this art, where the world is simplified into the conventions of a tapestry, by its intense appeal to primitive emotions, may help us like a touchstone to distinguish between the things to which more than lip-service is slavery, and the things to which less than life-service is death.