With him was recruited the little group of writers who fought on the front battle line of the clerical camp. They did not belong to the regular army, but were more properly the scouts of a religion which distrusted men of such talent as Veuillot and Hello, because they did not seem sufficiently submissive and shallow. What the Church really desires is soldiers who do not reason, files of such blind combatants and such mediocrities as Hello describes with the rage of one who has submitted to their yoke. Thus it was that Catholicism had lost no time in driving away one of its partisans, an enraged pamphleteer who wrote in a style at once rare and exasperated, the savage Léon Bloy; and caused to be cast from the doors of its bookshops, as it would a plague or a filthy vagrant, another writer who had made himself hoarse with celebrating its praises, Barbey d'Aurevilly.
It is true that the latter was too prone to compromise and not sufficiently docile. Others bent their heads under rebukes and returned to the ranks; but he was the enfant terrible, and was unrecognized by the party. In a literary way, he pursued women whom he dragged into the sanctuary. Nay, even that vast disdain was invoked, with which Catholicism enshrouds talent to prevent excommunication from putting beyond the pale of the law a perplexing servant who, under pretext of honoring his masters, broke the window panes of the chapel, juggled with the holy pyxes and executed eccentric dances around the tabernacle.
Two works of Barbey d'Aurevilly specially attracted Des Esseintes, the Prêtre marié and the Diaboliques. Others, such as the Ensorcelé, the Chevalier des touches and Une Vieille Maîtresse, were certainly more comprehensive and more finely balanced, but they left Des Esseintes untouched, for he was really interested only in unhealthy works which were consumed and irritated by fever.
In these all but healthy volumes, Barbey d'Aurevilly constantly hesitated between those two pits which the Catholic religion succeeds in reconciling: mysticism and sadism.
In these two books which Des Esseintes was thumbing, Barbey had lost all prudence, given full rein to his steed, and galloped at full speed over roads to their farthest limits.
All the mysterious horror of the Middle Ages hovered over that improbable book, the Prêtre marié; magic blended with religion, black magic with prayer and, more pitiless and savage than the Devil himself, the God of Original Sin incessantly tortured the innocent Calixte, His reprobate, as once He had caused one of his angels to mark the houses of unbelievers whom he wished to slay.
Conceived by a fasting monk in the grip of delirium, these scenes were unfolded in the uneven style of a tortured soul. Unfortunately, among those disordered creatures that were like galvanized Coppelias of Hoffmann, some, like Néel de Néhou, seemed to have been imagined in moments of exhaustion following convulsions, and were discordant notes in this harmony of sombre madness, where they were as comical and ridiculous as a tiny zinc figure playing on a horn on a timepiece.
After these mystic divagations, the writer had experienced a period of calm. Then a terrible relapse followed.
This belief that man is a Buridanesque donkey, a being balanced between two forces of equal attraction which successively remain victorious and vanquished, this conviction that human life is only an uncertain combat waged between hell and heaven, this faith in two opposite beings, Satan and Christ, was fatally certain to engender such inner discords of the soul, exalted by incessant struggle, excited at once by promises and menaces, and ending by abandoning itself to whichever of the two forces persisted in the pursuit the more relentlessly.
In the Prêtre marié, Barbey d'Aurevilly sang the praises of Christ, who had prevailed against temptations; in the Diaboliques, the author succumbed to the Devil, whom he celebrated; then appeared sadism, that bastard of Catholicism, which through the centuries religion has relentlessly pursued with its exorcisms and stakes.