"I am weary of life; and I am forced to see that belief in absurdities is necessary to human minds, and that it is born in them as insects are born in swamps."[40]
"You make me laugh with your old words about a mission to fulfil. What a missionary! But there is in me an inexplicable mechanism which works in spite of all arguments; and I let it work because I cannot stop it. What disgusts me most is the certainty that beauty does not exist for the majority of these human monkeys."[41]
"The unsolvable enigma of the world, the existence of evil and pain, the fierce madness of mankind, and the stupid cruelty that it inflicts hourly and everywhere on the most inoffensive beings and on itself—all this has reduced me to the state of unhappy and forlorn resignation of a scorpion surrounded by live coals. The most I can do is not to wound myself with my own dart."[42]
"I am in my sixty-first year; and I have no more hopes or illusions or aspirations. I am alone; and my contempt for the stupidity and dishonesty of men, and my hatred for their wicked cruelty, are at their height. Every hour I say to Death, 'When you like!' What is he waiting for?"[43]
And yet he fears the death he invites. It is the strongest, the bitterest, the truest feeling he has. No musician since old Roland de Lassus has feared it with that intensity. Do you remember Herod's sleepless nights in L'Enfance du Christ, or Faust's soliloquy, or the anguish of Cassandra, or the burial ofJuliette?—through all this you will find the whispered fear of annihilation. The wretched man was haunted by this fear, as a letter published by M. Julien Tiersot shows:—
"My favourite walk, especially when it is raining, really raining in torrents, is the cemetery of Montmartre, which is near my house. I often go there; there is much that draws me to it. The day before yesterday I passed two hours in the cemetery; I found a comfortable seat on a costly tomb, and I went to sleep.... Paris is to me a cemetery and her pavements are tomb-stones. Everywhere are memories of friends or enemies that are dead.... I do nothing but suffer unceasing pain and unspeakable weariness. I wonder night and day if I shall die in great pain or with little of it—I am not foolish enough to hope to die without any pain at all. Why are we not dead?"[44]
His music is like these mournful words; it is perhaps even more terrible, more gloomy, for it breathes death.[45] What a contrast: a soul greedy of life and preyed upon by death. It is this that makes his life such an awful tragedy. When Wagner met Berlioz he heaved a sigh of relief—he had at last found a man more unhappy than himself.[46]
On the threshold of death he turned in despair to the one ray of light left him—Stella montis, the inspiration of his childish love; Estelle, now old, a grandmother, withered by age and grief. He made a pilgrimage to Meylan, near Grenoble, to see her. He was then sixty-one years old and she was nearly seventy. "The past! the past! O Time! Nevermore! Nevermore!"[47]
Nevertheless, he loved her, and loved her desperately. How pathetic it is. One has little inclination to smile when one sees the depths of that desolate heart. Do you think he did not see, as clearly as you or I would see, the wrinkled old face, the indifference of age, the "triste raison," in her he idealised? Remember, he was the most ironical of men. But he did not wish to see these things, he wished to cling to a little love, which would help him to live in the wilderness of life.