It had continued to evolve and, patterning itself on the progress of the century, had advanced parallel with the other arts. It, too, had yielded to the desires of amateurs and artists, receiving its inspiration from the Chinese and Japanese, conceiving fragrant albums, imitating the Takeoka bouquets of flowers, obtaining the odor of Rondeletia from the blend of lavender and clove; the peculiar aroma of Chinese ink from the marriage of patchouli and camphor; the emanation of Japanese Hovenia by compounds of citron, clove and neroli. Thus, with the exception of the inimitable jasmine which it is impossible to counterfeit, all flowers are perfectly represented by the blend of aromatic spirits, stealing the very personality of the model, and to it adding that nuance the more, that heady scent, that rare touch which entitled a thing to be called a work of art. Perfumes, in fact, rarely come from the flowers whose names they bear. The artist who dared to borrow nature’s elements would only produce a bastard work which would have neither authenticity nor style, inasmuch as the essence obtained by the distillation of flowers would bear but a distant and vulgar relation to the odor of the living flower, wafting its fragrance into the air.
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He opened the window wide, glad to be able to breath the air. But it suddenly seemed to him that the breeze brought in a vague tide of bergamot with which jasmine and rose water were blent. Agitated, he asked himself whether he was not really under the yoke of one of those possessions exercised in the Middle Ages. The perfumed Louis XIII style, composed of elements highly prized at that time, of iris powder, musk, chive and myrtle water already designated under the name of “water of the angels,” was hardly sufficient to express the cavalier graces, the rather crude tones of the period which certain sonnets of Saint-Amand have preserved for us. Later, with myrrh and olibanum, the mystic odors, austere and powerful, the pompous gesture of the great period, the redundant artifices of oratorial art, the full, sustained harmonious style of Bossuet and the masters of the pulpit were almost possible.
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He wished to pass by means of it into a sphere of sublimated sensation which would arouse in him new commotions whose cause he might long and vainly seek to analyze. They were drawn through his brain as bands of metal are drawn through a steel-plate from which they issue thin, light, and reduced to almost imperceptible wires; and he had ended by possessing only those books which could submit to such treatment and which were so solidly tempered as to withstand the rolling-mill of each new reading. In his desire to refine, he had restrained https://hookupranker.com/localsgowild-review/ and almost sterilized his enjoyment, ever accentuating the irremediable conflict existing between his ideas and those of the world in which he had happened to be born. He had now reached such a pass that he could no longer discover any writings to content his secret longings. And his admiration even weaned itself from those volumes which had certainly contributed to sharpen his mind, making it so suspicious and subtle. This imbecile sentimentality, combined with a ferociously practical sense, represented the dominant motive of the age.
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He had strength to write a letter to his Paris physician and to order the servant to depart instantly, seek and bring him back that very day. This anthology comprised a selection of _Gaspard de la nuit_ of that fantastic Aloysius Bertrand who had transferred the behavior of Leonard in prose and, with his metallic oxydes, painted little pictures whose vivid colors sparkle like those of clear enamels. To this, Des Esseintes had joined _le Vox populi_ of Villiers, a superb piece of work in a hammered, golden style after the manner of Leconte de Lisle and of Flaubert, and some selections from that delicate _livre de Jade_ whose exotic perfume of ginseng and of tea blends with the odorous freshness of water babbling along the book, under moonlight.
Des Esseintes would gladly have accepted the tedious nonsense which those marionettes exchange with each other off-stage; or even the poet’s impudent borrowings from Homer, Theocritus, Ennius and Lucretius; the plain theft, revealed to us by Macrobius, of the second song of the _Aeneid_, copied almost word for word from one of Pisander’s poems; in fine, all the unutterable emptiness of this heap of verses. The thing he could not forgive, however, and which infuriated him most, was the workmanship of the hexameters, beating like empty tin cans and extending their syllabic quantities measured according to the unchanging rule of a pedantic and dull prosody. He disliked the texture of those stiff verses, in their official garb, their abject reverence for grammar, their mechanical division by imperturbable caesuras, always plugged at the end in the same way by the impact of a dactyl against a spondee.
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After the squalls and mists, the sky was covered with a white expanse of heat, like plates of sheet iron. In two days, without transition, a torrid heat, an atmosphere of frightful heaviness, succeeded the damp cold of foggy days and the streaming of the rains. As though stirred by furious pokers, the sun showed like a kiln-hole, darting a light almost white-hot, burning one’s face. A hot dust rose from the roads, scorching the dry trees, and the yellowed lawns became a deep brown. A temperature like that of a foundry hung over the dwelling of Des Esseintes.
The antiquity so marvelously restored by Flaubert remained cold and immobile in his hands. Nothing palpitated in his verses, which lacked depth and which, most often, contained no idea. Nothing moved in those gloomy, waste poems whose impassive mythologies ended by finally leaving him cold. Too, after having long delighted in Gautier, Des Esseintes reached the point where he no longer cared for him.
Then, in the shadowy dimness of a corner, near the floor, a white soft light crept. As soon as he was alone his gaze took in this vegetable tide which foamed in the vestibule. Intermingled with each other, they crossed their swords, their krisses and stanchions, taking on a resemblance to a green pile of arms, above which, like barbaric penons, floated flowers with hard dazzling colors.
His language was the language of disheveled romanticism, full of involved expressions, unfamiliar turns of speech, delighted with extravagant comparisons and with whip strokes and phrases which exploded, like the clangor of noisy bells, along the text. In short, d’Aurevilly was like a stallion among the geldings of the ultramontaine stables. For the conduct of this verbal warfare, Veuillot had made himself master of a special style, partly borrowed from La Bruyere and Du Gros-Caillou.