#in this house we love and respect esprit | Explore Tumblr posts and blogs

your-disobedient-servant · 4 years ago

Text

Voltaire’s Paméla Letters Translated: Intro and Letter #1

The letters that Voltaire rewrote in the vein of Richardson’s Paméla after his falling out with Frederick the Great have intrigued me ever since I first heard of them in November or December. Only discovered to have been a rewrite and not originals in the late 20th century, it’s hard to say how much of it is authentic and how much exaggerated or made up, but for me, the fact that they have been altered only adds to the fascination.

Six months into learning French, I’m still not sure I’m quite ready to use this as translation exercises, but I’m impatient, I found the book for very cheap, and besides, I feel that to translate Voltaire you must channel some of the hubris, so bring it on. Poetry (to my surprise, it turns out I actually enjoy translating poetry in some masochistic way) and all. In the end, I am proud of the result.

This is not a very juicy letter, but I’m sure one will come along soon enough. I’m not sure how many will I be able to complete because there’s about fifty of them altogether, but I hope I manage at least a few.

Big thanks to everyone who helped me out with the draft. The rest under the cut for brevity, English followed by original French.

FIRST LETTER

In Clèves, July 1750

It is to you, please, niece of mine, to you, woman of a wit superb, philosopher of the selfsame kind, to you who, like me, of Permesse, knows the many paths diverse; it is to you I now address this disarray of prose and verse, recount my long odyssey's story; recount unlike I back then did when, in my splendid age's glory, I still kept to Apollo's writ; when I dared, perhaps courting disaster, for counsel strike for Paris forth, notwithstanding our minds' worth, the god of Taste, my foremost master!

This journey is only too true, and puts too much distance between you and me. Do not imagine that I want to rival Chapelle, who has made, I do not know how, such a reputation for himself for having been from Paris to Monpellier and to papal land, and for having reported to a gourmand.

It was not, perhaps, difficult when one wished to mock monsieur d'Assoucy. We need another style, we need another pen, to portray this Plato, this Solon, this Achilles who writes his verses at Sans-Souci. I could tell you of that charming retreat, portray this hero philosopher and warrior, so terrible to Austria, so trivial for me; however, that could bore you.

Besides, I am not yet at his court and you should not anticipate anything: I want order even in my letters. Therefore know that I left Compiègne on July 25th, taking my road to Flanders, and as a good historiographer and a good citizen, I went to see the fields of Fontenoy, of Rocoux and of Lawfeld on my way. There was no trace of it left: all of it was covered with the finest wheat in the world. The Flemish men and women were dancing, as if nothing had happened.

Go on, innocent eyes of this bad-mannered populace; reign, lovely Ceres, where Bellona once flourished; countryside fertilised with blood of our warriors, I like better your harvests than all of the laurels: provided by chance and by vanity nourished Oh! that grand projects were prevented by doom! Oh! fruitless victories! Oh! the blood spilled in vain! French, English, German so tranquil today did we have to slit throats for friendship to bloom!

I went to Clèves hoping to find there the stage stations that all the bailiwicks provide, at the order of the king of Prussia, to those who to go to philosophise to Sans-Souci with the Solomon of the North and on whom the king bestows the favour of travelling at his expense: but the order of the king of Prussia had stayed in Wesel in the hands of a man who received it as the Spanish receive the papal bulls, with the deepest respect, and without putting them to any use. So I spent a few days in the castle of this princess that madame de La Fayette made so famous.

But this heroine and the duc of Nemours, we ignore in these places the gallant adventure; for it is not here, I vow, the land of novels, nor the one of love.

It is a shame, for the country seems made for the princesses of Clèves: it is the most beautiful place of nature and art has further added to its position. It is a view superior to that of Meudon; it is a land covered in vegetation like the Champs-Élysées and the forests of Boulogne; it is a hill covered in gently sloping avenues of trees: a large pool collects the waters of this hill; in the middle of the pool stands a statue of Minerva. The water of this first pool is received by a second, which returns it to the third; and at the foot of the hill ends in a waterfall pouring into a vast, semi-circular grotto. The waterfall lets the waters spill into a canal, which goes on to water a vast meadow and joins a branch of the Rhine. Mademoiselle de Scudéri and La Calprenède would have filled a volume of their novels with this description; but I, historiographer, I will only tell you that a certain prince Maurice de Nassau, the governor, during his lifetime, of this lovely solitude devised nearly all of these wonders there. He lies buried in the middle of the forest, in a great devil of an iron tomb, surrounded by all the ugliest bas-reliefs of the time of the Roman empire's decadence, and some gothic monuments that are worse still. But all of it would be something very respectable for those deep minds who fall into ecstasy at the sight of poorly cut stone, as long as it is two thousand years old.

Another ancient monument, the remains of a great stone road, built by the Romans, which led to Frankfurt, to Vienna, and to Constantinople. The Holy Empire devolved into Germany has fallen a little bit from its magnificence. One gets stuck in the mud in the summer nowadays, in the august Germania. Of all the modern nations, France and the little country of Belgium are the only ones who have roads worthy of Antiquity. We could above all boast of surpassing the ancient Romans in cabaret; and there are still certain points on which we equal them: but in the end, when it comes to durable, useful, magnificent monuments, which people can come close to them? which monarch does in his kingdom what a procosul did in Nîmes and in Arles?

Perfect in the trivial, in trifles sublime great inventors of nothing, envy we excite. Let our minds to the supreme heights strive of the children of Romulus so proud: they did a hundred times more for the vanquished crowd than we solely for ourselves contrive.

In the end, notwithstanding the beauty of the location of Clèves, notwithstanding the Roman road, in spite of a tower believed to have been built by Julius Caesar, or at least by Germanicus; in spite of the inscriptions of the twenty-sixth legion that quartered here for the winter; in spite of the lovely tree-lined roads planted by prince Maurice, and his grand iron tomb; in spite of, lastly, the mineral waters recently discovered here, there are hardly any crowds in Clèves. The waters there are, however, just as good as those of Spa or of Forges; and one cannot swallow the little atoms of iron in a more beautiful place. But it does not suffice, as you know, to have merits to be fashionable: usefulness and pleasantness are here; but this delicious retreat is frequented only by a few Dutchmen, who are attracted by the proximity and the low prices of living and houses there, and who come to admire and to drink.

I found there, to my great satisfaction, a well-known Dutch poet, who gave us the honour of elegantly, and even verse for verse, translating our tragedies, good or bad, to Dutch. Perhaps one day we will be reduced to translating the tragedies of Amsterdam: every nation gets their turn.

The Roman ladies, who leered at their lovers at the theatre of Pompeii, did not suspect that one day, in the middle of Gaul, in a little town called Lutèce, we would produce better plays than Rome.

The order of the king regarding the stage stations has finally reached me; so my delight at the princess of Clèves' place is over, and I am leaving for Berlin.

***

LETTRE PREMIÈRE

À Clèves, juillet 1750

C'est à vous, s'il vous plaît, ma nièce, vous, femme d'esprit sans travers, philosophe de mon espèce, vous qui, comme moi, du Permesse connaisez les sentiers divers ; c'est à vous qu'en courant j'adresse ce fatras de prose et de vers, ce récit de mon long voyage ; non tel que j'en fis autrefois quand, dans la fleur de mon bel âge, d'Apollon je suivais les lois ; quand j'osai, trop hardi peut-être, aller consulter à Paris, en dépit de nos beaux esprits, le dieu du Goût mon premier maître !

Ce voyage-ci n'est que trop vrai, et ne m'éloigne que trop du vous. N'allez pas vous imaginer que je veulle égaler Chapelle, qui s'est fait, je ne sais comment, tant de réputation, pour avoir été de Paris à Montpellier et en terre papale, et en avoir rendu compte à un gourmand.

Ce n'était pas peut-être un emploi difficile de railler monsieur d'Assoucy. Il faut une autre plume, il faut une autre style, pour peindre ce Platon, ce Solon, cet Achille qui fait des vers à Sans-Souci. Je pourrais vous parler de ce charmant asile, vous peindre ce héros philosophe et guerrier, si terrible à l'Autriche, et pour moi si facile ; mais je pourrais vous ennuyer.

D'ailleurs je ne suis pas encore à sa cour, et il ne faut rien anticiper : je veux de l'ordre jusque dans mes lettres. Sachez donc que je partis de Compiègne le 25 de juillet, prenant ma route par la Flandre, et qu'en bon historiographe et en bon citoyen, j'allai voir en passant les champs de Fontenoy, de Rocoux et de Lawfeld. Il n'y paraissait pas : tout cela était couvert des plus beaux blés du monde. Les Flamands et les Flamandes dansaient, comme si de rien n'eût été.

Durez, yeux innocents de ces peuples grossiers ; régnez, belle Cérès, où triompha Bellone ; campagnes qu'engraissa le sang de nos guerriers, j'aime mieux vos moissons que celles des lauriers : la vanité les cueille et le hasard les donne. Ô que de grands projets par le sort démentis ! Ô victoires sans fruits ! Ô meurtres inutiles ! Français, Anglais, Germains, aujourd'hui si tranquilles fallait-il s'égorger pour être bons amis !

J'ai été à Clèves comptant y trouver des relais que tous les bailliages fournissent, moyennant un ordre du roi de Prusse, à ceux qui vont philosopher à Sans-Souci auprès du Salomon du Nord et à qui le roi accorde la faveur de voyager à ses dépens : mais l'ordre du roi de Prusse était resté à Vesel entre les mains d'un homme qui l'a reçu comme les Espagnols reçoivent les bulles des papes, avec le plus profond respect, et sans en faire aucun usage. Je me suis donc quelques jours dans le château de cette princesse que madame de La Fayette a rendu si fameux.

Mais de cette heroïne, et du duc de Nemours, on ignore en ces lieux la galante aventure : ce n'est pas ici, je vous jure, le pays des romans, ni celui des amours.

C'est dommage, car le pays semble fait pour des princesses de Clèves : c'est le plus beau lieu de nature et l'art a encore ajouté à sa situation. C'est une vue supérieure à celle de Meudon ; c'est un terrain planté comme les Champs-Élysées et le bois de Boulogne ; c'est une colline couverte d'allées d'arbres en pente douce : un grand bassin reçoit les eaux de cette colline ; au milieu du bassin s'élève une statue de Minerve. L'eau de ce premier bassin est reçue dans un second, qui la renvoie à un troisième ; et le bas de la colline est terminé par une cascade ménagée dans une vaste grotte en demi-cercle. La cascade laisse tomber les eaux dans un canal qui va arroser une vaste prairie et se joindre à un bras du Rhin. Mademoiselle de Scudéri et La Calprenède auraient rempli de cette description un tome de leurs romans ; mais moi, historiographe, je vous dirai seulement qu'un certain prince Maurice de Nassau, gouverneur, de son vivant, de cette belle solitude, y fit presque toutes ces merveilles. Il s'est fait enterrer au milieu des bois, dans un grand diable de tombeau de fer, environné de tous les plus vilains bas-reliefs du temps de la décadence de l'empire romain, et de quelques monuments gothiques plus grossiers encore. Mais le tout serait quelque chose de fort respectable pour ces esprits profonds qui tombent en extase à la vue d'une pierre mal taillée, pour peu qu'elle ait deux mille ans d'antiquité.

Un autre monument antique, c'est le reste d'un grand chemin pavé, construit par les Romains, qui allait à Francfort, à Vienne et à Constantinople. Le Saint-Empire dévolu à l'Allemagne est un peu déchu de sa magnificence. On s'embourbe aujourd'hui en été, dans l'auguste Germanie. De toutes les nations modernes, la France et la petit pays des Belges sont les seules qui aient des chemins dignes de l'Antiquité. Nous pouvons surtout nous vanter de passer les anciens Romains en cabarets ; et il y a encore certains points sur lesquels nous les valons bien : mais enfin, pour les monuments durables, utiles, magnifiques, quel peuple approche d'eux ? quel monarque fait dans son royaume ce qu'un proconsul faisait dans Nîmes et dans Arles ?

Parfait dans le petit, sublimes en bijoux, grands inventeurs de riens, nous faisons des jaloux. Elevons nos esprits à la hauteur suprême des fiers enfants de Romulus : ils faisaient plus cent fois pour des peuples vaincus que nous ne faisons pour nous-mêmes.

Enfin, malgré la beauté de la situation de Clèves, malgré le chemin des Romains, en dépit d'une tour qu'on croit bâtie par Jules César, ou au moins par Germanicus ; en dépit des inscriptions d'une vingt-sixième légion qui était ici en quartier d'hiver ; en dépit des belles allées plantées par le prince Maurice, et de son grand tombeau de fer ; en dépit enfin des eaux minérales découvertes ici depuis peu, il n'y a guère d'affluence à Clèves. Les eaux y sont cependant aussi bonnes que celles de Spa et de Forges ; et on ne peut avaler de petits atomes de fer dans un plus beau lieu. Mais il ne suffit pas, comme vous savez, d'avoir du mérite pour avoir la vogue : l'utile et l'agréable sont ici ; mais ce séjour délicieux n'est fréquenté que par quelques Hollandais que le voisinage et le bas prix des vivres et de maisons y attirent, et qui viennent admirer et boire.

J'y ai retrouvé, avec une très grande satisfaction, un célèbre poète hollandais, qui nous a fait l'honneur de traduire élégamment en batave, et même vers pour vers, nos tragédies bonnes ou mauvaises. Peut-être un jour viendra que nous serons réduits à traduire les tragédies d'Amsterdam : chaque peuple a son tour.

Les dames romaines, qui allaient lorgner leurs amants au théâtre de Pompée, ne se doutaient pas qu'un jour au milieu des Gaules, dans un petit bourg nommé Lutèce, on ferait de meilleurs pièces de théâtre qu'à Rome.

L'ordre du roi pour les relais vient enfin de me parvenir ; voilà mon enchantement chez la princesse de Clèves fini, et je pars pour Berlin.

#this nearly murdered me #i mean swearing at Voltaire is nothing new for me but #i open the book as soon as i get it and the first letter containd FIVE POEMS #dramatic little bitch (semi-affectionate)#anyway onto no. 2 #Paméla letters #my translation #Voltaire #Frederick the Great #Mme Denis

26 notes · View notes

unsettlingshortstories · 3 years ago

Text

The Laughing Man

J.D. Salinger (1949)

IN 1928, when I was nine, I belonged, with maximum esprit de corps, to an organization known as the Comanche Club. Every school day afternoon at three o’clock, twenty-five of us Comanches were picked up by our Chief outside the boys’ exit of P. S. 165, on 109th Street near Amsterdam Avenue. We then pushed and punched our way into the Chief’s reconverted commercial bus, and he drove us (according to his financial arrangement with our parents) over to Central Park. The rest of the afternoon, weather permitting, we played football or soccer or baseball, depending (very loosely) on the season. Rainy afternoons, the Chief invariably took us either to the Museum of Natural History or to the Metropolitan Museum of Art.

Saturdays and most national holidays, the Chief picked us up early in the morning at our various apartment houses and, in his condemned-looking bus, drove us out of Manhattan into the comparatively wide open spaces of Van Cortlandt Park or the Palisades. If we had straight athletics on our minds, we went to Van Cortlandt, where the playing fields were regulation size and where the opposing team didn’t include a baby carriage or an irate old lady with a cane. If our Comanche hearts were set on camping, we went over to the Palisades and roughed it. (I remember getting lost one Saturday somewhere on that tricky stretch of terrain between the Linit sign and the site of the western end of the George Washington Bridge. I kept my head, though. I just sat down in the majestic shadow of a giant billboard and, however tearfully, opened my lunchbox for business, semi-confident that the Chief would find me. The Chief always found us.)

In his hours of liberation from the Comanches, the Chief was John Gedsudski, of Staten Island. He was an extremely shy, gentle young man of twenty-two or -three, a law student at N.Y.U., and altogether a very memorable person. I won’t attempt to assemble his many achievements and virtues here. Just in passing, he was an Eagle Scout, an almost-All-America tackle of 1926, and it was known that he had been most cordially invited to try out for the New York Giants’ baseball team. He was an impartial and unexcitable umpire at all our bedlam sporting events, a master fire builder and extinguisher, and an expert, uncontemptuous first-aid man. Every one of us, from the smallest hoodlum to the biggest, loved and respected him.

The Chief’s physical appearance in 1928 is still clear in my mind. If wishes were inches, all of us Comanches would have had him a giant in no time. The way things go, though, he was a stocky five three or four–no more than that. His hair was blue-black, his hair-line extremely low, his nose was large and fleshy, and his torso was just about as long as his legs were. In his leather windbreaker, his shoulders were powerful, but narrow and sloping. At the time, however, it seemed to me that in the Chief all the most photogenic features of Buck Jones, Ken Maynard, and Tom Mix had been smoothly amalgamated.

Every afternoon, when it got dark enough for a losing team to have an excuse for missing a number of infield popups or end-zone passes, we Comanches relied heavily and selfishly on the Chief’s talent for storytelling. By that hour, we were usually an overheated, irritable bunch, and we fought each other–either with our fists or our shrill voices–for the seats in the bus nearest the Chief. (The bus had two parallel rows of straw seats. The left row had three extra seats–the best in the bus–that extended as far forward as the driver’s profile.) The Chief climbed into the bus only after we had settled down. Then he straddled his driver’s seat backward and, in his reedy but modulated tenor voice, gave us the new installment of “The Laughing Man.” Once he started narrating, our interest never flagged. “The Laughing Man” was just the right story for a Comanche. It may even have had classic dimensions. It was a story that tended to sprawl all over the place, and yet it remained essentially portable. You could always take it home with you and reflect on it while sitting, say, in the outgoing water in the bathtub.

The only son of a wealthy missionary couple, the Laughing Man was kidnapped in infancy by Chinese bandits. When the wealthy missionary couple refused (from a religious conviction) to pay the ransom for their son, the bandits, signally piqued, placed the little fellow’s head in a carpenter’s vise and gave the appropriate lever several turns to the right. The subject of this unique experience grew into manhood with a hairless, pecan-shaped head and a face that featured, instead of a mouth, an enormous oval cavity below the nose. The nose itself consisted of two flesh-sealed nostrils. In consequence, when the Laughing Man breathed, the hideous, mirthless gap below his nose dilated and contracted like (as I see it) some sort of monstrous vacuole. (The Chief demonstrated, rather than explained, the Laughing Man’s respiration method.) Strangers fainted dead away at the sight of the Laughing Man’s horrible face. Acquaintances shunned him. Curiously enough, though, the bandits let him hang around their headquarters–as long as he kept his face covered with a pale-red gossamer mask made out of poppy petals. The mask not only spared the bandits the sight of their foster son’s face, it also kept them sensible of his whereabouts; under the circumstances, he reeked of opium.

Every morning, in his extreme loneliness, the Laughing Man stole off (he was as graceful on his feet as a cat) to the dense forest surrounding the bandits’ hideout. There he befriended any number and species of animals: dogs, white mice, eagles, lions, boa constrictors, wolves. Moreover, he removed his mask and spoke to them, softly, melodiously, in their own tongues. They did not think him ugly.

(It took the Chief a couple of months to get that far into the story. From there on in, he got more and more high-handed with his installments, entirely to the satisfaction of the Comanches.)

The Laughing Man was one for keeping an ear to the ground, and in no time at all he had picked up the bandits’ most valuable trade secrets. He didn’t think much of them, though, and briskly set up his own, more effective system. On a rather small scale at first, he began to free-lance around the Chinese countryside, robbing, highjacking, murdering when absolutely necessary. Soon his ingenious criminal methods, coupled with his singular love of fair play, found him a warm place in the nation’s heart. Strangely enough, his foster parents (the bandits who had originally turned his head toward crime) were about the last to get wind of his achievements. When they did, they were insanely jealous. They all single-filed past the Laughing Man’s bed one night, thinking they had successfully doped him into a deep sleep, and stabbed at the figure under the covers with their machetes. The victim turned out to be the bandit chief’s mother–an unpleasant, haggling sort of person. The event only whetted the bandits’ taste for the Laughing Man’s blood, and finally he was obliged to lock up the whole bunch of them in a deep but pleasantly decorated mausoleum. They escaped from time to time and gave him a certain amount of annoyance, but he refused to kill them. (There was a compassionate side to the Laughing Man’s character that just about drove me crazy.)

Soon the Laughing Man was regularly crossing the Chinese border into Paris, France, where he enjoyed flaunting his high but modest genius in the face of Marcel Dufarge, the internationally famous detective and witty consumptive. Dufarge and his daughter (an exquisite girl, though something of a transvestite) became the Laughing Man’s bitterest enemies. Time and again, they tried leading the Laughing Man up the garden path. For sheer sport, the Laughing Man usually went halfway with them, then vanished, often leaving no even faintly credible indication of his escape method. Just now and then he posted an incisive little farewell note in the Paris sewerage system, and it was delivered promptly to Dufarge’s boot. The Dufarges spent an enormous amount of time sloshing around in the Paris sewers.

Soon the Laughing Man had amassed the largest personal fortune in the world. Most of it he contributed anonymously to the monks of a local monastery–humble ascetics who had dedicated their lives to raising German police dogs. What was left of his fortune, the Laughing Man converted into diamonds, which he lowered casually, in emerald vaults, into the Black Sea. His personal wants were few. He subsisted exclusively on rice and eagles’ blood, in a tiny cottage with an underground gymnasium and shooting range, on the stormy coast of Tibet. Four blindly loyal confederates lived with him: a glib timber wolf named Black Wing, a lovable dwarf named Omba, a giant Mongolian named Hong, whose tongue had been burned out by white men, and a gorgeous Eurasian girl, who, out of unrequited love for the Laughing Man and deep concern for his personal safety, sometimes had a pretty sticky attitude toward crime. The Laughing Man issued his orders to the crew through a black silk screen. Not even Omba, the lovable dwarf, was permitted to see his face.

I’m not saying I will, but I could go on for hours escorting the reader–forcibly, if necessary–back and forth across the Paris-Chinese border. I happen to regard the Laughing Man as some kind of super-distinguished ancestor of mine–a sort of Robert E. Lee, say, with the ascribed virtues held under water or blood. And this illusion is only a moderate one compared to the one I had in 1928, when I regarded myself not only as the Laughing Man’s direct descendant but as his only legitimate living one. I was not even my parents’ son in 1928 but a devilishly smooth impostor, awaiting their slightest blunder as an excuse to move in–preferably without violence, but not necessarily–to assert my true identity. As a precaution against breaking my bogus mother’s heart, I planned to take her into my underworld employ in some undefined but appropriately regal capacity. But the main thing I had to do in 1928 was watch my step. Play along with the farce. Brush my teeth. Comb my hair. At all costs, stifle my natural hideous laughter.

Actually, I was not the only legitimate living descendant of the Laughing Man. There were twenty-five Comanches in the Club, or twenty-five legitimate living descendants of the Laughing Man–all of us circulating ominously, and incognito, throughout the city, sizing up elevator operators as potential archenemies, whispering side-of-the-mouth but fluent orders into the ears of cocker spaniels, drawing beads, with index fingers, on the foreheads of arithmetic teachers. And always waiting, waiting for a decent chance to strike terror and admiration in the nearest mediocre heart.

One afternoon in February, just after Comanche baseball season had opened, I observed a new fixture in the Chief’s bus. Above the rear-view mirror over the windshield, there was a small, framed photograph of a girl dressed in academic cap and gown. It seemed to me that a girl’s picture clashed with the general men-only decor of the bus, and I bluntly asked the Chief who she was. He hedged at first, but finally admitted that she was a girl. I asked him what her name was. He answered unforthrightly, “Mary Hudson.” I asked him if she was in the movies or something. He said no, that she used to go to Wellesley College. He added, on some slow-processed afterthought, that Wellesley College was a very high class college. I asked him what he had her picture in the bus for, though. He shrugged slightly, as much as to imply, it seemed to me, that the picture had more or less been planted on him.

During the next couple of weeks, the picture–however forcibly or accidentally it had been planted on the Chief–was not removed from the bus. It didn’t go out with the Baby Ruth wrappers and the fallen licorice whips. However, we Comanches got used to it. It gradually took on the unarresting personality of a speedometer.

But one day as we were on our way to the Park, the Chief pulled the bus over to a curb on Fifth Avenue in the Sixties, a good half mile past our baseball field. Some twenty back-seat drivers at once demanded an explanation, but the Chief gave none. Instead, he simply got into his story-telling position and swung prematurely into a fresh installment of “The Laughing Man.” He had scarcely begun, however, when someone tapped on the bus door. The Chief’s reflexes were geared high that day. He literally flung himself around in his seat, yanked the operating handle of the door, and a girl in a beaver coat climbed into the bus.

Offhand, I can remember seeing just three girls in my life who struck me as having unclassifiably great beauty at first sight. One was a thin girl in a black bathing suit who was having a lot of trouble putting up an orange umbrella at Jones Beach, circa 1936. The second was a girl aboard a Caribbean cruise ship in 1939, who threw her cigarette lighter at a porpoise. And the third was the Chief’s girl, Mary Hudson.

“Am I very late?” she asked the Chief, smiling at him.

She might just as well have asked if she was ugly.

“No!” the Chief said. A trifle wildly, he looked at the Comanches near his seat and signalled the row to give way. Mary Hudson sat down between me and a boy named Edgar something, whose uncle’s best friend was a bootlegger. We gave her all the room in the world. Then the bus started off with a peculiar, amateur-like lurch. The Comanches, to the last man, were silent.

On the way back to our regular parking place, Mary Hudson leaned forward in her seat and gave the Chief an enthusiastic account of the trains she had missed and the train she hadn’t missed; she lived in Douglaston, Long Island. The Chief was very nervous. He didn’t just fail to contribute any talk of his own; he could hardly listen to hers. The gearshift knob came off in his hand, I remember.

When we got out of the bus, Mary Hudson stuck right with us. I’m sure that by the time we reached the baseball field there was on every Comanche’s face a some-girls-just-don’t-know-when-to-go-home look. And to really top things off, when another Comanche and I were flipping a coin to decide which team would take the field first, Mary Hudson wistfully expressed a desire to join the game. The response to this couldn’t have been more clean-cut. Where before we Comanches had simply stared at her femaleness, we now glared at it. She smiled back at us. It was a shade disconcerting. Then the Chief took over, revealing what had formerly been a well-concealed flair for incompetence. He took Mary Hudson aside, just out of earshot of the Comanches, and seemed to address her solemnly, rationally. At length, Mary Hudson interrupted him, and her voice was perfectly audible to the Comanches. “But I do,” she said. “I do, too, want to play!” The Chief nodded and tried again. He pointed in the direction of the infield, which was soggy and pitted. He picked up a regulation bat and demonstrated its weight. “I don’t care,” Mary Hudson said distinctly, “I came all the way to New York–to the dentist and everything–and I’m gonna play.” The Chief nodded again but gave up. He walked cautiously over to home plate, where the Braves and the Warriors, the two Comanche teams, were waiting, and looked at me. I was captain of the Warriors. He mentioned the name of my regular center fielder, who was home sick, and suggested that Mary Hudson take his place. I said I didn’t need a center fielder. The Chief asked me what the hell did I mean I didn’t need a center fielder. I was shocked. It was the first time I had heard the Chief swear. What’s more, I could feel Mary Hudson smiling at me. For poise, I picked up a stone and threw it at a tree.

We took the field first. No business went out to center field the first inning. From my position on first base, I glanced behind me now and then. Each time I did, Mary Hudson waved gaily to me. She was wearing a catcher’s mitt, her own adamant choice. It was a horrible sight.

Mary Hudson batted ninth on the Warriors’ lineup. When I informed her of this arrangement, she made a little face and said, “Well, hurry up, then.” And as a matter of fact we did seem to hurry up. She got to bat in the first inning. She took off her beaver coat–and her catcher’s mitt–for the occasion and advanced to the plate in a dark-brown dress. When I gave her a bat, she asked me why it was so heavy. The Chief left his umpire’s position behind the pitcher and came forward anxiously. He told Mary Hudson to rest the end of her bat on her right shouder. “I am,” she said. He told her not to choke the bat too tightly. “I’m not,” she said. He told her to keep her eye right on the ball. “I will,” she said. “Get outa the way.” She swung mightily at the first ball pitched to her and hit it over the left fielder’s head. It was good for an ordinary double, but Mary Hudson got to third on it–standing up.

When my astonishment had worn off, and then my awe, and then my delight, I looked over at the Chief. He didn’t so much seem to be standing behind the pitcher as floating over him. He was a completely happy man. Over on third base, Mary Hudson waved to me. I waved back. I couldn’t have stopped myself, even if I’d wanted to. Her stickwork aside, she happened to be a girl who knew how to wave to somebody from third base.

The rest of the game, she got on base every time she came to bat. For some reason, she seemed to hate first base; there was no holding her there. At least three times, she stole second.

Her fielding couldn’t have been worse, but we were piling up too many runs to take serious notice of it. I think it would have improved if she’d gone after flies with almost anything except a catcher’s mitt. She wouldn’t take it off, though. She said it was cute.

The next month or so, she played baseball with the Comanches a couple of times a week (whenever she had an appointment with her dentist, apparently). Some afternoons she met the bus on time, some afternoons she was late. Sometimes she talked a blue streak in the bus, sometimes she just sat and smoked her Herbert Tareyton cigarettes (cork-tipped). When you sat next to her in the bus, she smelled of a wonderful perfume.

One wintry day in April, after making his usual three o’clock pickup at 109th and Amsterdam, the Chief turned the loaded bus east at 110th Street and cruised routinely down Fifth Avenue. But his hair was combed wet, he had on his overcoat instead of his leather windbreaker, and I reasonably surmised that Mary Hudson was scheduled to join us. When we zipped past our usual entrance to the Park, I was sure of it. The Chief parked the bus on the comer in the Sixties appropriate to the occasion. Then, to kill time painlessly for the Comanches, he straddled his seat backward and released a new installment of “The Laughing Man.” I remember the installment to the last detail, and I must outline it briefly.

A flux of circumstances delivered the Laughing Man’s best friend, his timber wolf, Black Wing, into a physical and intellectual trap set by the Dufarges. The Dufarges, aware of the Laughing Man’s high sense of loyalty, offered him Black Wing’s freedom in exchange for his own. In the best faith in the world, the Laughing Man agreed to these terms. (Some of the minor mechanics of his genius were often subject to mysterious little breakdowns.) It was arranged for the Laughing Man to meet the Dufarges at midnight in a designated section of the dense forest surrounding Paris, and there, by moonlight, Black Wing would be set free. However, the Dufarges had no intention of liberating Black Wing, whom they feared and loathed. On the night of the transaction, they leashed a stand-in timber wolf for Black Wing, first dyeing its left hind foot snow white, to look like Black Wing’s.

But there were two things the Dufarges hadn’t counted on: the Laughing Man’s sentimentality and his command of the timber-wolf language. As soon as he had allowed Dufarge’s daughter to tie him with barbed wire to a tree, the Laughing Man felt called upon to raise his beautiful, melodious voice in a few words of farewell to his supposed old friend. The stand-in, a few moonlit yards away, was impressed by the stranger’s command of the language and listened politely for a moment to the last-minute advice, personal and professional, that the Laughing Man was giving out. At length, though, the stand-in grew impatient and began shifting his weight from paw to paw. Abruptly, and rather unpleasantly, he interrupted the Laughing Man with the information that, in the first place, his name wasn’t Dark Wing or Black Wing or Gray Legs or any of that business, it was Armand, and, in the second place, he’d never been to China in his life and hadn’t the slightest intention of going there.

Properly infuriated, the Laughing Man pushed off his mask with his tongue and confronted the Dufarges with his naked face by moonlight. Mlle. Dufarge responded by passing out cold. Her father was luckier. By chance, he was having one of his coughing spells at the moment and thereby missed the lethal unveiling. When his coughing spell was over and he saw his daughter stretched out supine on the moonlit ground, Dufarge put two and two together. Shielding his eyes with his hand, he fired the full clip in his automatic toward the sound of the Laughing Man’s heavy, sibilant breathing.

The installment ended there.

The Chief took his dollar Ingersoll out of his watch pocket, looked at it, then swung around in his seat and started up the motor. I checked my own watch. It was almost four-thirty. As the bus moved forward, I asked the Chief if he wasn’t going to wait for Mary Hudson. He didn’t answer me, and before I could repeat my question, he tilted back his head and addressed all of us: “Let’s have a little quiet in this damn bus.” Whatever else it may have been, the order was basically unsensible. The bus had been, and was, very quiet. Almost everybody was thinking about the spot the Laughing Man had been left in. We were long past worrying about him–we had too much confidence in him for that–but we were never past accepting his most perilous moments quietly.

In the third or fourth inning of our ball game that afternoon, I spotted Mary Hudson from first base. She was sitting on a bench about a hundred yards to my left, sandwiched between two nursemaids with baby carriages. She had on her beaver coat, she was smoking a cigarette, and she seemed to be looking in the direction of our game. I got excited about my discovery and yelled the information over to the Chief, behind the pitcher. He hurried over to me, not quite running. “Where?” he asked me. I pointed again. He stared for a moment in the right direction, then said he’d be back in a minute and left the field. He left it slowly, opening his overcoat and putting his hands in the hip pockets of his trousers. I sat down on first base and watched. By the time the Chief reached Mary Hudson, his overcoat was buttoned again and his hands were down at his sides.

He stood over her for about five minutes, apparently talking to her. Then Mary Hudson stood up, and the two of them walked toward the baseball field. They didn’t talk as they walked, or look at each other. When they reached the field, the Chief took his position behind the pitcher. I yelled over to him. “Isn’t she gonna play?” He told me to cover my sack. I covered my sack and watched Mary Hudson. She walked slowly behind the plate, with her hands in the pockets of her beaver coat, and finally sat down on a misplaced players’ bench just beyond third base. She lit another cigarette and crossed her legs.

When the Warriors were at bat, I went over to her bench and asked her if she felt like playing left field. She shook her head. I asked her if she had a cold. She shook her head again. I told her I didn’t have anybody in left field. I told her I had a guy playing center field and left field. There was no response at all to this information. I tossed my first-baseman’s mitt up in the air and tried to have it land on my head, but it fell in a mud puddle. I wiped it off on my trousers and asked Mary Hudson if she wanted to come up to my house for dinner sometime. I told her the Chief came up a lot. “Leave me alone,” she said. “Just please leave me alone.” I stared at her, then walked off in the direction of the Warriors’ bench, taking a tangerine out of my pocket and tossing it up in the air. About midway along the third-base foul line, I turned around and started to walk backwards, looking at Mary Hudson and holding on to my tangerine. I had no idea what was going on between the Chief and Mary Hudson (and still haven’t, in any but a fairly low, intuitive sense), but nonetheless, I couldn’t have been more certain that Mary Hudson had permanently dropped out of the Comanche lineup. It was the kind of whole certainty, however independent of the sum of its facts, that can make walking backwards more than normally hazardous, and I bumped smack into a baby carriage.

After another inning, the light got bad for fielding. The game was called, and we started picking up all the equipment. The last good look I had at Mary Hudson, she was over near third base crying. The Chief had hold of the sleeve of her beaver coat, but she got away from him. She ran off the field onto the cement path and kept running till I couldn’t see her any more.

The Chief didn’t go after her. He just stood watching her disappear. Then he turned around and walked down to home plate and picked up our two bats; we always left the bats for him to carry. I went over to him and asked if he and Mary Hudson had had a fight. He told me to tuck my shirt in.

Just as always, we Comanches ran the last few hundred feet to the place where the bus was parked, yelling, shoving, trying out strangleholds on each other, but all of us alive to the fact that it was again time for “The Laughing Man.” Racing across Fifth Avenue, somebody dropped his extra or discarded sweater, and I tripped over it and went sprawling. I finished the charge to the bus; but the best seats were taken by that time and I had to sit down in the middle of the bus. Annoyed at the arrangement, I gave the boy sitting on my right a poke in the ribs with my elbow, then faced around and watched the Chief cross over Fifth. It was not yet dark out, but a five-fifteen dimness had set in. The Chief crossed the street with his coat collar up, the bats under his left arm, and his concentration on the street. His black hair, which had been combed wet earlier in the day, was dry now and blowing. I remember wishing the Chief had gloves.

The bus, as usual, was quiet when he climbed in–as proportionately quiet, at any rate, as a theatre with dimming house lights. Conversations were finished in a hurried whisper or shut off completely. Nonetheless, the first thing the Chief said to us was “All right, let’s cut out the noise, or no story.” In an instant, an unconditional silence filled the bus, cutting off from the Chief any alternative but to take up his narrating position. When he had done so, he took out a handkerchief and methodically blew his nose, one nostril at a time. We watched him with patience and even a certain amount of spectator’s interest. When he had finished with his handkerchief, he folded it neatly in quarters and replaced it in his pocket. He then gave us the new installment of “The Laughing Man.” From start to finish, it lasted no longer than five minutes.

Four of Dufarge’s bullets struck the Laughing Man, two of them through the heart. When Dufarge, who was still shielding his eyes against the sight of the Laughing Man’s face, heard a queer exhalation of agony from the direction of the target, he was overjoyed. His black heart beating wildly, he rushed over to his unconscious daughter and brought her to. The pair of them, beside themselves with delight and coward’s courage, now dared to look up at the Laughing Man. His head was bowed as in death, his chin resting on his bloody chest. Slowly, greedily, father and daughter came forward to inspect their spoils. Quite a surprise was in store for them. The Laughing Man, far from dead, was busy contracting his stomach muscles in a secret manner. As the Dufarges came into range, he suddenly raised his face, gave a terrible laugh, and neatly, even fastidiously, regurgitated all four bullets. The impact of this feat on the Dufarges was so acute that their hearts literally burst, and they dropped dead at the Laughing Man’s feet. (If the installment was going to be a short one anyway, it could have ended there; the Comanches could have managed to rationalize the sudden death of the Dufarges. But it didn’t end there.) Day after day, the Laughing Man continued to stand lashed to the tree with barbed wire, the Dufarges decomposing at his feet. Bleeding profusely and cut off from his supply of eagles’ blood, he had never been closer to death. One day, however, in a hoarse but eloquent voice, he appealed for help to the animals of the forest. He summoned them to fetch Omba, the lovable dwarf. And they did. But it was a long trip back and forth across the Paris-Chinese border, and by the time Omba arrived on the scene with a medical kit and a fresh supply of eagles’ blood, the Laughing Man was in a coma. Omba’s very first act of mercy was to retrieve his master’s mask, which had blown up against Mlle. Dufarge’s vermin-infested torso. He placed it respectfully over the hideous features, then proceeded to dress the wounds.

When the Laughing Man’s small eyes finally opened, Omba eagerly raised the vial of eagles’ blood up to the mask. But the Laughing Man didn’t drink from it. Instead, he weakly pronounced his beloved Black Wing’s name. Omba bowed his own slightly distorted head and revealed to his master that the Dufarges had killed Black Wing. A peculiar and heart-rending gasp of final sorrow came from the Laughing Man. He reached out wanly for the vial of eagles’ blood and crushed it in his hand. What little blood he had left trickled thinly down his wrist. He ordered Omba to look away, and, sobbing, Omba obeyed him. The Laughing Man’s last act, before turning his face to the bloodstained ground, was to pull off his mask.

The story ended there, of course. (Never to be revived.) The Chief started up the bus. Across the aisle from me, Billy Walsh, who was the youngest of all the Comanches, burst into tears. None of us told him to shut up. As for me, I remember my knees were shaking.

A few minutes later, when I stepped out of the Chief’s bus, the first thing I chanced to see was a piece of red tissue paper flapping in the wind against the base of a lamppost. It looked like someone’s poppy-petal mask. I arrived home with my teeth chattering uncontrollably and was told to go right straight to bed.

3 notes · View notes

helshades · 5 years ago

Note

Please help me find a scent! When I enter a room, I want people to acknowledge my existence. I want to demand their attention, but they can't approach me. No! I want people to automatically realize that they can't play me. No time for nonsense. Serious business only. I'm in charge. I want to be intimidating and mysterious. Which perfume should I get?

So... something potent, sensual, with monstrous projection, unsweetened, but thorny, a little cold perhaps..?. In one word: tantalising.

As a matter of fact, we could go in a lot of directions, depending on your own version of ‘intimidating’ and ‘mysterious’ alone. Or your co-workers’ take on the subject, since some people are likely to feel intimidated in the presence of a powerful green floral, or any spice whatsoever now I come to think of it. As for the approachability factor, the ultra-chic grandiloquence of Rouge Hermès has been known to traumatise its fair share of opponents. Yet, I don’t suppose you’re after something quite so, er, ‘sultry dowager’. Ahem.

Never have I met a perfume so evocative as Grimoire, or so strange. One of Anatole Lebreton’s very best, it resembles nothing you could smell anywhere else, unless you could transport yourself under the robes of a young monk daydreaming over his illuminated manuscript as the window open on the herb garden carries tranquil yet troubling scents into the dusty library. It might be too contemplative for your purposes, but it is a perfume to behold, arresting, beauteous, imaginative, at once familiar and aloof.

Now, if the frankincense and dust have you parched for a wetter perfume, I cannot resist the temptation of slipping a floral in my list, though not others might think of spontaneously: Un matin d’orage, by Annick Goutal, and here you would have a difficult choice to make between the eau de toilette and the eau de parfum versions, as they happen to be quite different, the latter featuring a pretty dirty tuberose on a woody bed of myrrh and guaic, whereas the former is a little spicier with ginger and greener, in my opinion the real ‘stormy morning’ (to be perfectly honest, I wear one in the morning, and the other come afternoon) of the two. Beautiful, energising, but a little cold.

Practically on the opposite, why not something by house Frapin? One of the most respected cognac maker, in 2007 they launched a successful line of wonderful perfumes, generally thought to be leaning on the masculine side (I suppose women are meant only to sip their minute glass of sherry daintily, whereas men can haz the better spirits...) but in truth quite unisex, usually heavy with alcohol and elegantly exotic, like a casket of precious wood so often used to carry bottles that even empty the rich smell of winy fruit and spices linger. Frapin perfumes are usually well-blended and fairly close to the skin, so I’d recommend the probable loudest and my favourite: Caravelle Épicée, ‘spicy caravel’, a classy spicy-boozy juice, peppery, delicately woody with a whiff of tobacco, and a subtle slide of sexy patchouli.

I almost recommended Speakeasy as well but I find it a little close to the skin, all things considered, even though it must be sniffed once. It was made by one of my nose darlings, Marc-Antoine Corticchiato, who runs his own independent house, Parfum d’Empire, of which I dislike exactly zero creation. His very first, back in 2003, was one of the ballsiest ambers ever made, and could drink any Frapin under the table with its intoxicating head of vodka and champagne, like a very tipsy White Russian still too well-educated to lose control of his senses entirely, but he’s almost there, and he’s rambling; and his leather boots are waxed in birch tar, and his perfume is something herbal and masculine with juniper and spices... The result is a smoking Russian tea with a hefty dose of alcohol: the much-beloved Ambre Russe. Also particularly worthy of note in the house for me, with added ‘mystery’, are Wazamba, all incense, balms, resins & woods, and it is to Serge Lutens’ Fille en aiguilles what green leather desk covers are to red ones (ctrl+F, then search for ‘sage-green’.), as well as the bashful and daring Aziyadé, the forbidden Turkish delight of a girl. A lot more luxurious, and not an easy wear for everyone, and it evolves along the day marvellously (very different notes come up depending on who’s wearing it, too, which is never a bad thing), depending also on the weather. Honestly, on me it smells so much like spicey, liqorous orange that I’m incapable not to wear it on Christmas, but on most other people it does smell less like a fruity pomander.

Now, since I cited one of my favourite ambers, I must mention another, which is one of the most splendid ever created: Lubin’s Akkad, which could have been the ultimate ‘perfume of an empire’, as nose Delphine Thierry sought to make the mystical fragrance that emperor Sargon, who ruled Mesopotamia twenty-five centuries ago, might have wished to offer his goddess Ishtar, who presided over love and war... The offering is a startling beauty, sombre and luminous at once, a combination of precious incenses—elemi, olibanum, styrax—with hypnotic herbs (labdanum, clary sage), hot spices (vanilla, cardamom), on a bed of amber embers. Must always be compared with its incestuous cousin Idole, based on ebony wood and a hint of leather. Darker somewhat, more dangerous, and just as heady.

Dangerous also... This one has its share of haters: Serge Noire, by Serge Lutens. It has many notes in common with Idole, including its ebony heart, but instead of rich alcohol and macerated fruits, there are strong, dark peppers and a bag of cloves that knocks you down on first sniff. I adore it, because I can’t have enough of filthy musky notes and clove, like cumin, can be (and is often) worked into a civet-like smell of sweat and sex. (The title is a pun on Lutens’ first name—the nose behind his perfumes being English mad genius Christopher Sheldrake—but serge is French for ‘twill’, a nod to Lutens’ youth designing hair, make-up and jewellery for the high fashion world.) Serge Noire is a contrasted and demanding perfume, burning hot and cold, a dark fur with hints of ash and earth, some have spoken of ink, but it ends on a more suave vanilla-scented leather. You have to be patient for this layer to appear, though.

On the civet-spice spectrum, one of my favourites: Rose Poivrée, which now-retired Hermès in-house perfumer Jean-Claude Ellena designed for The Different Company, is exactly what it says on the tin, a dark red rose with loads, but loads of pepper, black, pink, coriander, and a frisson of vetiver to better underline the insanely exciting duality of this hot-and-cold perfume. I wear it in autumn for some reason, and it keeps changing, alternating between the rose and the sweat-like cumin. It has a magnificent lookalike, with less dirty notes and added gin and leather, in Penhaligon’s Much Ado About the Duke, with the downside of the ridiculous price of their ‘Portraits’ collection, and I hardly ever see it on EBay, unfortunately, but one never knows.

Intimidating, mysterious, commandeering, quite a little bit dangerous, and of course horridly expensive, I frantically advise you to discover the entire line of D.S. & Durga perfumes. Based in New York, perfumer David Seth ‘D.S.’ Moltz and architect Kavi Ahuja ‘Durga’ Moltz are married, crazy, and brilliant; both are obsessed with the way odours allow us to armchair-travel everywhere, and their olfactory universe ventures into pre-industrial America, ‘turning things [they] love into scented stories of cowboys, open terrain, Russian novel characters and folk songs’. This is how you get one Burning Barbershop, inspired by a fire that ravaged a Westlake barbershop in 1891, hence a fragrance like old-timey tonics, lavender, mint, lime, vanilla... as well as smokey notes. (My personal favourite is Bowmakers, a homage to the violin and bow makers of the Bay Colony in 1800s New England, which is only woods—rosewood, mahogany, pine, maple—, resin, varnish, nut and leather.) In the ‘Hylnds’ collection, Pale Grey Mountain, Small Black Lake is an unbelievable chypre with herbal, mineral and aquatic notes reminiscent of an entire Scottish landscape. Even more apothecarial is Mississippi Medicine, with its camphorous head and its resinous, vegetal body of cypress and cedar mixed with coriander, juniper, olibanum, and birch tar—so powerfully, so troublingly organic, intimidating, mystical, that if it heals, it must also be a poison.

Here, impossible not to mention James Heeley’s Esprit du Tigre, the sensuous transposition of a famous Asian liniment commercially known as ‘tiger balm’, but it is surprisingly tasteful and decidedly discreet in the end. So, by Heeley, I’d rather recommend two great classics, his wondrous incenses Cardinal and Phoenicia, the first a sensually blasphemous blend of myrrh and olibanum on white linen, a peppery rose with labdanum, earthy and aerial with patchouli and vetiver; whereas Phoenicia is an imaginary voyage on the Mediterranean Sea, inspired by the merchants who brought so many precious woods, spices and fruits to the west in the Antiquity: dates and grapes, incense and labdanum, oud, sandalwood and birch, and vetiver. It has a lot in common with Aziyadé in fact, except the latter is a spice market while this one is a merchant ship with a heavy cargo of precious woods. (Have both, is essentially what I’m saying.)

So, is it showing that I’m completely obsessed with incenses? I shall refrain from adding to the list Olibanum and Oxiana by Profumum Roma, then, but I’ll have some trouble not mentioning my darling Arso and its resinous beauty with a side of grilled hazelnut... Well, if I really must stop, perhaps instead something like the intensely aromatic Victrix (oakmoss, bay leaf, vetiver, peppers and musk) or the fizzy mint & patchouli of Thundra. Profumum Roma bottles are expensive, yes, but this is because the perfumes are highly concentrated, at 43% (a higher dosage than anybody else I know), which means that they last forever with the smallest spray. Do come back to me for advice in the spring when I’m the mood for greener recommendations because Acqua di Sale, ‘salt water’, a startling seaweed, myrtle and cedar blend, might interest you.

In the meantime, because it is horribly late and I have to post this before I start waxing poetry over sticky florientals and how they too can be intimidating and stuff, but above all, before I begin waxing poetry over most of Pierre Guillaume’s catalogue (his creativity is somewhat epileptic and that catalogue seemingly endless) I’ll leave you with a note on a strange, strange flower, which is Daniela Andrier’s Une amourette Roland Mouret for zany house État Libre d’Orange, where the usually well-behaved classic orange blossom gets loose and lascivious, thanks to a temptress of a perfumer who knows how to play the indolic—that is, the fleshy—notes of the white flower, before lying her down on a bed of crazy neo-patchouli, synthetic molecule Akigalawood®, which possesses the peppery, oud-like notes of the undergrowth. Snow White and the wolf in a bottle.

#answers #nonnies #aromaphilia #you never said how office-friendly that scent should be #remind me to tell you of timbuktu later

14 notes · View notes

grimoiresontape · 8 years ago

Text

On Gaap

As many will probably know, my dear friend and podcast co-host Jesse Hathaway Diaz is the goatish half of Wolf & Goat – ‘qualified purveyors of materia magica, occult art and esoterica’ - working with the incomparably wolfish Troy Chambers. W&G are perhaps best known for their incredibly complicated and potent magical oils. One such oil forms the inspiration for this post: their Goetic oil of the spirit Gaap.

Gaap, aliàs Tap, a great President and a Prince, he appeareth in a meridional sign, and when he taketh humane shape, he is the guide of the four principal Kings, as mighty as Bileth. There were certain Necromancers that offered sacrifices and burnt offerings unto him; and to call him up, they exercised an art, saying, that Solomon the wise made it, which is false: for it was rather Cham, the son of Noah, who after the flood began first to invocate wicked Spirits. He invocated Bileth, and made an Art in his name, and a book which is known to many Mathematitians. There were burnt offerings and sacrifices made, and gifts given, and much wickedness wrought by the Exorcist, who mingleth therewithal the holy Names of God, the which in that Art are everywhere expressed. Marry there is an Epistle of those names written by Solomon, as also write Helias Aierosolymitanus and Helisaeus. It is to be noted, that if any Exorcist have the Art of Bileth, and cannot make him stand before him, nor see him, I may not bewray how, and declare the means to contain him, because it is an abomination, and for that I have learned nothing from Solomon of his dignity and office. But yet I will not hide this, to wit, that he maketh a man wonderful in Philosophy and all the Liberal Sciences; he maketh love, hatred, insensibility, consecration, and consecration of those things that are belonging unto the domination of Amaymon, and delivereth familiars out of the possession of other Conjurors, answering truly and perfectly of things present, past, and to come; and transferreth men most speedily into other Nations; he ruleth Sixty six Legions, and was of the order of Potestates. Reginald Scot, The Discovery of Witchcraft (London, 1584: 1665), 234.

Gaap is a spirit that bridges spirit catalogues. Not only a senior king in the Ars Goetia of the Lemegeton, but a particularly important spirit in the Grimorium Verum, who also makes significant appearances in the Munich manuscript, the Livre des Esprits and several others. The exact spelling of the name may change, shifting and shimmering like moonlight on rippling water, but the current is familiar. As should not surprise those conversant with Elelogaap’s duties in Verum, I have found this spirit to have an especially watery nature, instantiated in seas that drown but especially related to serpentine rivers that both refresh and carry away.

The spirit can be felt – in my experiences at least – in the barks of moonstruck hounds and winding willows alike. In the sands between tides, marked in the foottrack of gulls. In the glimmer of beads – lush amethyst, roughly hewn quartz chips, beautiful lapis, the heavy depths of obsidian, and of course sacred bloodstone. Gaap’s mysteries can be pulled from between the teeth of fish and the jaws of watercourses.

The peculiar enchantment of this spirit is present in the two main branches of their root attested in the grimoires. For Gaap is a prince who incites love; transforming ourselves and others in a persuasive dance of lap and ebb. This can certainly be thought of as akin to the transfiguring fertility of the flooding Nile, that gave the Black Lands their very name after all. It is also a fae-ish charisma that invites us into the depths. The world and its extended hand is washed clean, sweetened in waters that spiral like the hearts of roses.

In this persuasion, we begin to grasp and be grasped by the second fork of Gaap’s identified offices: to carry folk between kingdoms, upon the rolling, stirring charm of open waters that promise, of tributaries that beckon and wind into the sunset. It is in this swell and tide of motion that this spirit may also bring us the golds and silvers of wishing well pennies, sunbeam sea glitter, and the banks and beds of rivers.

These philosophies of water, these reflections off and upon splendour, depths and the translucent and rippling mysteries of invisibility, offers an optics of second sight glinting in an eye of calm and storm. Such is the phlegmatic work of the Chalice. Gaap is present riding both churning riptide and lily-pond stillness. In the zoning-out of trance and transfiguration, thought bubbles punctured by the creoles of sea dragons, leaking into the waters that cool and freeze, claim and erode, that sink us and swim us like so many ducked witches. In the shock of salt spray and the subterfuges of curling shells. In the spiralling eddies of whorling point and dissipating potency. In the undertow at the bottom of the glass.

As such, working with this spirit in and as an oil makes a great deal of magical sense. The assured presence as the oil allows one to dive into deeper ends and immediately begin the nurturing of contact. For those with extant relationships with this mighty King, be assured, this oil will flow across your tools and space, enriching, ennobling and entrapping. Many magicians who have worked with these spirits find that such entities are often only-too-eager to present lists of fabulous things they desire or require. The Goetic oils of Wolf & Goat offer opportunities for neophyte conjurors to be assured of what this spirit actually feels like. Importantly they also offer more experienced nigromancers rich opportunities to consolidate and build upon contact and communion.

There is an issue of professionalism here. It is of course possible, with proper spirit contact and divination to confirm, that anyone actually working with these spirits should be able to synthesise a basic formulary for at least one’s own workings. Homecooking and reliance upon one’s own wits and networks is of course essential. Make no mistake though: these oils are not fast-food shortcuts to instant Darque Occult Power. They are subtle, complex gourmet banquets with a depth of sophisticated flavours, requiring refinement of palette and protocol. If treated with care, respect and wisdom they can inspire, empower and even – to an extent – initiate.

Practically, how the bottled oleum itself might be “enthroned” in a spirit-house or fetish presents serious and rewarding work. How the throne and port of communion can be watered and fished, how the tools can be netted and embroidered, how the threads can be knotted, frayed and followed. Seating this King in one’s own practice presents various operations and experimentum: from finding a suitable vessel to providing tools and materia necessary to direct the flow of the spirit’s imbued virtue. Likewise, securing one’s pact with the spirit through the oil – exposing it to locales in private rituals of empowerment – also allows one to gather, say, sands scored with the spirit’s seal in especially propitious hours.

I would certainly not recommend Wolf & Goat’s Goetic oils to everyone. But I will say if you have already made pacts, or even if you already plan to make such pacts, these seats of power are potent facilitators.

7 notes · View notes

boemarine786 · 5 years ago

Text

Top 15 Perfume in 2020 | Para Fragrance

I've by and by been blogging on different themes and stages since the early noughties, and I never stop to be astounded by the life span of the medium in spite of prophets asserting 'the blog is dead'. A long way from it. Furthermore, what is increasingly mind boggling is that there are bloggers consuming the 12 PM oil on each theme, anyway specialty cologne . Perfumery is no special case. There are top scent websites causing a ripple effect as specialties of this specialty; each discovering its own unique clan.

We run over aroma sites dynamic in common perfume & cologne , aromas for men, and VIP just as nostalgic vintage scents. Others spread new discharges and preliminary spritz them giving us their survey wisdoms. On the opposite finish of the fragrance blog range, you'll discover smell scientists saying something from their labs.

I can't do equity to every one of these specialties of fragrance writes here. Rather, I've featured those I wind up visiting consistently for news, sound perspectives, a touch of carefree head-gesturing and genuine industry bits of knowledge cologne for men . These are my pillars and ones I read each week. They make me survey my own work in progress and let me conclude whether to go with or avoid patterns. They have altogether different composing styles and plans and make for a perfect outline of this weird, dark, cold hearted world we call perfumery. Every one of them, in the genuine soul of pen popular government, diminish the persona and smoke and knifes encompassing everything fragrances for men.

I trust you make the most of their good fortune as much as I do and maybe feel roused to begin your own fragrant blogging venture.

Bois de jasmin – a diverse, wonderfully elegantly composed and useful blog by proficient fragrances for men industry expert and grant winning author Victoria Frovlova who is a successive supporter of HuffPost, The Money related Occasions and the New York Times. Situated in Belgium, Victoria has kept Bois de jasmin going for well more than 10 years, so her blog give a mine of data and research. I especially like her discover a 'house, note, scent or state of mind' search capacity to raise exactly what you need, and her 'prescribe me a best cheap perfume ' posts every month that urge perusers to do a questions and answers. It's a blog that gets network moving. Victoria is brilliant at answering by and by to every single remark.

CaFleureBon – This is an overwhelming weight aroma blog that has collected all the honors going, so hope to be in for a since a long time ago read. It has genuine accreditations and positions as the main scent blog for common, specialty and craftsman aromas. cologne for men Editorial manager in-Boss Michelyn Camen made ÇaFleureBon in 2010 (deciphered from French, this expression implies 'that smells wonderful') as a 'scented salon', where common and customary perfumers and proprietors of aroma organizations, artists, gourmet experts, painters, understudies, scholars, bloggers, notices, artists, and retailers can accumulate and share their considerations about the universe of the fifth sens ". popular men cologne The blog assembles its information direct from source – the perfumers, inventive chiefs and friends PRs themselves – so is an exact impression of what's happening inside the specialty, craftsman perfumery business. ÇaFleureBon posts unique substance 365 days per year, which is some accomplishment, and incorporates among its customary givers prestigious scent bloggers like The Silver Fox. perfume for men Editorial manager Michelyn let me know some time back that the site is experiencing an upgrade at the present time so it will be a significantly increasingly wonderful spot to hang out.

Scientific expert in a Jug – Aroma physicist Lucas shares his normal everyday employment in sniffing and concoction sourcery in an entirely receptive and layman-available read. I especially value his 'Science Instantly' and 'Realize it Better' arrangement of articles analyzing mixes like aldehydes or coumarin. A perfect, clear, simple safe site that has an abundance of research ready for whoever gets there first. A decent spot to gen up to stay informed concerning the business from an industry insider's perspective.

Esprit de Parfums – the blog (in French) of industry insider Sylvaine Delacourte, who is chief of improvement and assessment at Guerlain. Among the conspicuous posts about Guerlain popular men cologne and news. the blog presents individual bits of knowledge into a perfumed world. Posts entitled 'Rituel du Parfum' for instance, give us the way of thinking, in addition to tips, on the why and how to wear scent each day, valuing it ourselves and what it accomplishes for people around us. Nose around to discover a large group of down to earth tips covered in exposition, best men cologne for example, this, requesting that we consider, ie, 'le parfum comme un scene'. In the event that you can understand French, it merits following Sylvaine.

Goodsmellas – Superb title for a reckless and large Brooklyn blog from folks (Carlos and Igor) who are 'not your normal smelling Joes' as they caption the blog, yet who are productive video analysts. Uncovered as a coot and all grins, Carlos gives it for what it's worth on huge brands and littler names in the aroma world on his channel 'Brooklyn Scent Darling'. Men's or unisex perfume for men obviously, however there's a long way to go from these folks. Convincing review and perfect for late evening wilfing before bed.

Grain de musc – With a Ph.D on the Maquis de Sade, Denyse Beaulieu is a considerable, yet available nose and perfumery author. She runs an incredible bilingual blog in French and English and is an essayist and interpreter just as writer of 'The Fragrances Sweetheart: An Individual History of Aroma' and another book in French just so far ' perfume : Une Histoire Intime', which is about the making of 'a' scent not aromas by and large. The blog is somewhat less valuable as an available asset (so not the configuration of bois de jasmin) however a decent read on the off chance that you simply accept the way things are and dive into the chronicles voluntarily wandering through blog entries. Extraordinary for those personal time minutes in your perfume & cologne training.

Kafkaesque – A calm, flawlessly created and scholarly aroma blog that is home to individual audits as well as a profundity and broadness of foundation on perfumery, from industry (IFRA/EU regs and what they intend) to scent history basically, a glossary of terms and aroma families and how to find out about the incredible 'works of art'. A decent spot to begin finding out about scent from a mysterious however in any case fair and ardent blogger.

Karen Gilbert – is an autonomous perfumery coach and evaluator who runs courses both on the web and as three-day, week-long and end of the week instructional courses. perfume sale Karen is a prepared industry proficient with a lifelong that traverses common and engineered perfumery and skincare organizations. From the get-go in her vocation, she worked for IFF, one of the business' enormous name scent producers and has likewise been at Neals' Yard and with driving skincare names. perfume sale online Karen Gilbert's blog is an important asset on everything perfumery and an extraordinary spot to begin for a prologue to the subject.

KatiePuckrikSmells – a flippant audit and fragrance jibber jabber blogo by a perfumehead entertainer, television and radio moderator and writer. I love Katie's surveys for their speak plainly, non drivel style. popular men cologne She says what we'd all state as opposed to utilizes high-faluting terms of the business or pre-having cognoscenti. Katie incredibly discovers time to answer to analysts, so expect some talk. A decent spot to peruse an elective audit on the most recent dispatch.

NowSmellThis – a long-running magazine style aroma blog situated in the States that is a 'we' voice with supporters of different segments, for example, new dispatches, names, brands, surveys and so forth. I especially grativate to its 'Perfumista' posts where you'll discover records, for example, best perfume for men '100 Aromas each Perfumista should attempt' or '25 Rose Scents each Perfumista should attempt'. Nothing beats examining those rundown posts before beginning a Monday morning's messages!

Odette Toilette – otherwise known as Lizzie Olstrom began this blog around 8 years prior while in occasions and PR. It turned her novice, devotee love of scent into an all day work. Audits and general fragrances talk aside, Odette Toilette additionally has occasions on some odd and great parts of scent – ie. Aroma and Dread. Her ordinary 'Scratch n' Sniff' occasions are amazing in London. Lizzie is doing a ton for the fragrance world, evening in homerooms, showing kids how to utilize their feeling of smell! Her first book 'Fragrances: An Era of Aroma' seemed a few years back.

Persolaise – another family unit blogger name is three-time Jasmine Grant winning author and beginner perfumer Dariush Alavi, otherwise known as Persolaise. Alavi is productive and his definitive and very much respected blog a decent blend of surveys, meetings and assessments (saying it 'all things considered'). He composed 'Le Stiff neck: Aroma', popular men cologne direct which is accessible on Amazon at a perfumed value point.

Tauer Scents – The meandering aimlessly journal home of Andy Tauer, he of craftsman perfumery Tauer Fragrances and of creativity. Andy has a beguiling and disarmingly garrulous method of scent blogging that makes him a 'guy in the bar' sort of perfumer as opposed to a 'nez' scretively and subtly working in some concealed lab. Love or loathe Tauer perfume – he had some that have taken an extreme slamming, yet I love the majority of them – especially his hit L'Air du Desert Marocain, his blog merits the brisk day by day flick. His posts are continuous and journal like and are acceptable view into the working existence of a self-starter craftsman perfume. He likewise has intriguing bits of knowledge into the business, from his nonconformist point of view.

The Silver Fox – Composing on aroma in a higher echelon under the Twitter handle of @ScentofElegance, The Silver Fox is an increasingly educated and graceful style of fragrances analysis. This isn't for those looking for tons of assets yet for those looking for snapshots of intelligent idea on the perfume world. Fro model, one post discusses 'synaesthesia', which is about the gathering and blending of faculties that a few people experience ie. tasting a perfume & cologne , imagining a smell, hearing a smell. Get the job done to say that The Silver Fox manages current perfumery factions and slants and does

0 notes

tantemildred-blog · 7 years ago

Text

WHY STUDY LITERATURE

I fell in love with books early. I remember those out-of-time moments after tooth brushing when my Mum was lying besides me and telling the story I picked. Without any doubt, The Story of the Little Mole who knew it was none of his business by Werner Holzwarth and Wolf Erlbruch was our favorite, she used to make funny voices and we were rolling on the floor laughing, like really. At 6 I was able to read by myself and every week end we used to go to the best children library in the world, Le Préau, to refill my stock. Cecile, the amazing bookseller who knows best what you need to read just looking into your eyes, start calling me “la dévoreuse de livres”, I was so proud of this nickname ! It was so difficult to turn the light off at night with all those amazing worlds I was visiting. I discovered some kind of magic ability : traveling through time and space staying in your bed, frightening yourself being safe underneath a cozy blanket, being so absorbed that it's impossible to stop reading even if you're exhausted (with Peggy Sue, Harry Potter and later René Barjavel's books) or finding consolation with characters you love in a world you wish yours when the real one goes upside down...

Recently I have been unsettled by poetry. All I knew about it was classic Jacques Prévert or Maurice Carême poems we had to learn by heart at school and I was not what we call a fan. Last summer my best friend Eva lent me Je, d'un accident ou d'amour by Loïc Demey who's from my hometown (Metz, France). I was mad, literally in awe. It's a short love story which has the particularity to be written without any verb, Demey replaced them by nouns or adverbs. An entire facet of literature has been unlocked to me and this feeling is really great : to push the walls of your knowledge and explore new lands, it occurs to me that it is kind of good food for your mind.

“ Lire c'est oser le vertige. On peut lire, comme on s'incline, révérencieux, ébloui par la fulgurance d'un bel esprit. Aveuglément !”

Fatou Diome

Well it is one thing to love reading but it is quite another to study literature. On a personal level I would like to become a publisher so I think English studies program will help sharpen my critical skills, grow a literary knowledge, do internships and get a degree that will allow me to apply for a job in a publishing house and (perhaps) someday (I hope) establish mine. Literature is the 5th art according to philosopher Etienne Souriau. A piece of art is a proposition which gives the spectator a way to explore, he has to appropriate the proposition and interpret it through his own prism, then maybe he will have an idea too, related or not it doesn't matter, the important thing is the sequence. Will follow a multiplication of the possibilities like a tree structure, like a virtuous loop of inspiration. Besides, literary studies may help to improve the way people express themselves and the better you express your feelings the more you avoid misunderstandings and so communication between you and your contemporaries is improved. It is also a way to develop some more empathy because when you read you are able to put yourself in someone else's boots and therefore you are more likely to respect everyone's feelings.

“Many stories matter (…) when we realize that there is never a single story about any place, we regain a kind of paradise.”

The danger of a single story – Chimamanda Ngozi Adichie

0 notes

readbookywooks · 8 years ago

Text

One afternoon, a month later, Dorian Gray was reclining in a luxurious arm-chair, in the little library of Lord Henry’s house in Curzon Street. It was, in its way, a very charming room, with its high panelled wainscoting of olive-stained oak, its cream-colored frieze and ceiling of raised plaster-work, and its brick-dust felt carpet strewn with long-fringed silk Persian rugs. On a tiny satinwood table stood a statuette by Clodion, and beside it lay a copy of “Les Cent Nouvelles,” bound for Margaret of Valois by Clovis Eve, and powdered with the gilt daisies that the queen had selected for her device. Some large blue china jars, filled with parrot- tulips, were ranged on the mantel-shelf, and through the small leaded panes of the window streamed the apricot-colored light of a summer’s day in London.

Lord Henry had not come in yet. He was always late on principle, his principle being that punctuality is the thief of time. So the lad was looking rather sulky, as with listless fingers he turned over the pages of an elaborately-illustrated edition of “Manon Lescaut” that he had found in one of the bookcases. The formal monotonous ticking of the Louis Quatorze clock annoyed him. Once or twice he thought of going away.

At last he heard a light step outside, and the door opened. “How late you are, Harry!” he murmured.

“I am afraid it is not Harry, Mr. Gray,” said a woman’s voice.

He glanced quickly round, and rose to his feet. “I beg your pardon. I thought–”

“You thought it was my husband. It is only his wife. You must let me introduce myself. I know you quite well by your photographs. I think my husband has got twenty-seven of them.”

[23] “Not twenty-seven, Lady Henry?”

“Well, twenty-six, then. And I saw you with him the other night at the Opera.” She laughed nervously, as she spoke, and watched him with her vague forget-me-not eyes. She was a curious woman, whose dresses always looked as if they had been designed in a rage and put on in a tempest. She was always in love with somebody, and, as her passion was never returned, she had kept all her illusions. She tried to look picturesque, but only succeeded in being untidy. Her name was Victoria, and she had a perfect mania for going to church.

“That was at ’Lohengrin,’ Lady Henry, I think?”

“Yes; it was at dear ’Lohengrin.’ I like Wagner’s music better than any other music. It is so loud that one can talk the whole time, without people hearing what one says. That is a great advantage: don’t you think so, Mr. Gray?”

The same nervous staccato laugh broke from her thin lips, and her fingers began to play with a long paper-knife.

Dorian smiled, and shook his head: “I am afraid I don’t think so, Lady Henry. I never talk during music,–at least during good music. If one hears bad music, it is one’s duty to drown it by conversation.”

“Ah! that is one of Harry’s views, isn’t it, Mr. Gray? But you must not think I don’t like good music. I adore it, but I am afraid of it. It makes me too romantic. I have simply worshipped pianists,– two at a time, sometimes. I don’t know what it is about them. Perhaps it is that they are foreigners. They all are, aren’t they? Even those that are born in England become foreigners after a time, don’t they? It is so clever of them, and such a compliment to art. Makes it quite cosmopolitan, doesn’t it? You have never been to any of my parties, have you, Mr. Gray? You must come. I can’t afford orchids, but I spare no expense in foreigners. They make one’s rooms look so picturesque. But here is Harry!–Harry, I came in to look for you, to ask you something,–I forget what it was,–and I found Mr. Gray here. We have had such a pleasant chat about music. We have quite the same views. No; I think our views are quite different. But he has been most pleasant. I am so glad I’ve seen him.”

“I am charmed, my love, quite charmed,” said Lord Henry, elevating his dark crescent-shaped eyebrows and looking at them both with an amused smile.–"So sorry I am late, Dorian. I went to look after a piece of old brocade in Wardour Street, and had to bargain for hours for it. Nowadays people know the price of everything, and the value of nothing.”

“I am afraid I must be going,” exclaimed Lady Henry, after an awkward silence, with her silly sudden laugh. “I have promised to drive with the duchess.–Good-by, Mr. Gray.–Good-by, Harry. You are dining out, I suppose? So am I. Perhaps I shall see you at Lady Thornbury’s.”

“I dare say, my dear,” said Lord Henry, shutting the door behind her, as she flitted out of the room, looking like a bird-of-paradise that had been out in the rain, and leaving a faint odor of patchouli behind her. Then he shook hands with Dorian Gray, lit a cigarette, and flung himself down on the sofa.

[24] “Never marry a woman with straw-colored hair, Dorian,” he said, after a few puffs.

“Why, Harry?”

“Because they are so sentimental.”

“But I like sentimental people.”

“Never marry at all, Dorian. Men marry because they are tired; women, because they are curious: both are disappointed.”

“I don’t think I am likely to marry, Harry. I am too much in love. That is one of your aphorisms. I am putting it into practice, as I do everything you say.”

“Whom are you in love with?” said Lord Henry, looking at him with a curious smile.

“With an actress,” said Dorian Gray, blushing.

Lord Henry shrugged his shoulders. “That is a rather common-place début,” he murmured.

“You would not say so if you saw her, Harry.”

“Who is she?”

“Her name is Sibyl Vane.”

“Never heard of her.”

“No one has. People will some day, however. She is a genius.”

“My dear boy, no woman is a genius: women are a decorative sex. They never have anything to say, but they say it charmingly. They represent the triumph of matter over mind, just as we men represent the triumph of mind over morals. There are only two kinds of women, the plain and the colored. The plain women are very useful. If you want to gain a reputation for respectability, you have merely to take them down to supper. The other women are very charming. They commit one mistake, however. They paint in order to try to look young. Our grandmothers painted in order to try to talk brilliantly. Rouge and esprit used to go together. That has all gone out now. As long as a woman can look ten years younger than her own daughter, she is perfectly satisfied. As for conversation, there are only five women in London worth talking to, and two of these can’t be admitted into decent society. However, tell me about your genius. How long have you known her?”

“About three weeks. Not so much. About two weeks and two days.”

“How did you come across her?”

“I will tell you, Harry; but you mustn’t be unsympathetic about it. After all, it never would have happened if I had not met you. You filled me with a wild desire to know everything about life. For days after I met you, something seemed to throb in my veins. As I lounged in the Park, or strolled down Piccadilly, I used to look at every one who passed me, and wonder with a mad curiosity what sort of lives they led. Some of them fascinated me. Others filled me with terror. There was an exquisite poison in the air. I had a passion for sensations.

“One evening about seven o’clock I determined to go out in search of some adventure. I felt that this gray, monstrous London of ours, with its myriads of people, its splendid sinners, and its sordid sins, as [25] you once said, must have something in store for me. I fancied a thousand things.

“The mere danger gave me a sense of delight. I remembered what you had said to me on that wonderful night when we first dined together, about the search for beauty being the poisonous secret of life. I don’t know what I expected, but I went out, and wandered eastward, soon losing my way in a labyrinth of grimy streets and black, grassless squares. About half-past eight I passed by a little third- rate theatre, with great flaring gas-jets and gaudy play-bills. A hideous Jew, in the most amazing waistcoat I ever beheld in my life, was standing at the entrance, smoking a vile cigar. He had greasy ringlets, and an enormous diamond blazed in the centre of a soiled shirt. ’’Ave a box, my lord?’ he said, when he saw me, and he took off his hat with an act of gorgeous servility. There was something about him, Harry, that amused me. He was such a monster. You will laugh at me, I know, but I really went in and paid a whole guinea for the stage-box. To the present day I can’t make out why I did so; and yet if I hadn’t!–my dear Harry, if I hadn’t, I would have missed the greatest romance of my life. I see you are laughing. It is horrid of you!”

“I am not laughing, Dorian; at least I am not laughing at you. But you should not say the greatest romance of your life. You should say the first romance of your life. You will always be loved, and you will always be in love with love. There are exquisite things in store for you. This is merely the beginning.”

“Do you think my nature so shallow?” cried Dorian Gray, angrily.

“No; I think your nature so deep.”

“How do you mean?”

“My dear boy, people who only love once in their lives are really shallow people. What they call their loyalty, and their fidelity, I call either the lethargy of custom or the lack of imagination. Faithlessness is to the emotional life what consistency is to the intellectual life,–simply a confession of failure. But I don’t want to interrupt you. Go on with your story.”

“Well, I found myself seated in a horrid little private box, with a vulgar drop-scene staring me in the face. I looked out behind the curtain, and surveyed the house. It was a tawdry affair, all Cupids and cornucopias, like a third-rate wedding-cake. The gallery and pit were fairly full, but the two rows of dingy stalls were quite empty, and there was hardly a person in what I suppose they called the dress-circle. Women went about with oranges and ginger-beer, and there was a terrible consumption of nuts going on.”

“It must have been just like the palmy days of the British Drama.”

“Just like, I should fancy, and very horrid. I began to wonder what on earth I should do, when I caught sight of the play-bill. What do you think the play was, Harry?”

“I should think ’The Idiot Boy, or Dumb but Innocent.’ Our fathers used to like that sort of piece, I believe. The longer I live, Dorian, the more keenly I feel that whatever was good enough for our fathers is not good enough for us. In art, as in politics, les grand pères ont toujours tort.”

[26] “This play was good enough for us, Harry. It was ’Romeo and Juliet.’ I must admit I was rather annoyed at the idea of seeing Shakespeare done in such a wretched hole of a place. Still, I felt interested, in a sort of way. At any rate, I determined to wait for the first act. There was a dreadful orchestra, presided over by a young Jew who sat at a cracked piano, that nearly drove me away, but at last the drop-scene was drawn up, and the play began. Romeo was a stout elderly gentleman, with corked eyebrows, a husky tragedy voice, and a figure like a beer-barrel. Mercutio was almost as bad. He was played by the low-comedian, who had introduced gags of his own and was on most familiar terms with the pit. They were as grotesque as the scenery, and that looked as if it had come out of a pantomime of fifty years ago. But Juliet! Harry, imagine a girl, hardly seventeen years of age, with a little flower-like face, a small Greek head with plaited coils of dark-brown hair, eyes that were violet wells of passion, lips that were like the petals of a rose. She was the loveliest thing I had ever seen in my life. You said to me once that pathos left you unmoved, but that beauty, mere beauty, could fill your eyes with tears. I tell you, Harry, I could hardly see this girl for the mist of tears that came across me. And her voice,- -I never heard such a voice. It was very low at first, with deep mellow notes, that seemed to fall singly upon one’s ear. Then it became a little louder, and sounded like a flute or a distant hautbois. In the garden-scene it had all the tremulous ecstasy that one hears just before dawn when nightingales are singing. There were moments, later on, when it had the wild passion of violins. You know how a voice can stir one. Your voice and the voice of Sibyl Vane are two things that I shall never forget. When I close my eyes, I hear them, and each of them says something different. I don’t know which to follow. Why should I not love her? Harry, I do love her. She is everything to me in life. Night after night I go to see her play. One evening she is Rosalind, and the next evening she is Imogen. I have seen her die in the gloom of an Italian tomb, sucking the poison from her lover’s lips. I have watched her wandering through the forest of Arden, disguised as a pretty boy in hose and doublet and dainty cap. She has been mad, and has come into the presence of a guilty king, and given him rue to wear, and bitter herbs to taste of. She has been innocent, and the black hands of jealousy have crushed her reed-like throat. I have seen her in every age and in every costume. Ordinary women never appeal to one’s imagination. They are limited to their century. No glamour ever transfigures them. One knows their minds as easily as one knows their bonnets. One can always find them. There is no mystery in one of them. They ride in the Park in the morning, and chatter at tea-parties in the afternoon. They have their stereotyped smile, and their fashionable manner. They are quite obvious. But an actress! How different an actress is! Why didn’t you tell me that the only thing worth loving is an actress?”

“Because I have loved so many of them, Dorian.”

“Oh, yes, horrid people with dyed hair and painted faces.”

“Don’t run down dyed hair and painted faces. There is an extraordinary charm in them, sometimes.”

[27] “I wish now I had not told you about Sibyl Vane.”

“You could not have helped telling me, Dorian. All through your life you will tell me everything you do.”

“Yes, Harry, I believe that is true. I cannot help telling you things. You have a curious influence over me. If I ever did a crime, I would come and confide it to you. You would understand me.”

“People like you–the wilful sunbeams of life–don’t commit crimes, Dorian. But I am much obliged for the compliment, all the same. And now tell me,–reach me the matches, like a good boy: thanks,–tell me, what are your relations with Sibyl Vane?”

Dorian Gray leaped to his feet, with flushed cheeks and burning eyes. “Harry, Sibyl Vane is sacred!”

“It is only the sacred things that are worth touching, Dorian,” said Lord Henry, with a strange touch of pathos in his voice. “But why should you be annoyed? I suppose she will be yours some day. When one is in love, one always begins by deceiving one’s self, and one always ends by deceiving others. That is what the world calls romance. You know her, at any rate, I suppose?”

“Of course I know her. On the first night I was at the theatre, the horrid old Jew came round to the box after the performance was over, and offered to bring me behind the scenes and introduce me to her. I was furious with him, and told him that Juliet had been dead for hundreds of years, and that her body was lying in a marble tomb in Verona. I think, from his blank look of amazement, that he thought I had taken too much champagne, or something.”

“I am not surprised.”

“I was not surprised either. Then he asked me if I wrote for any of the newspapers. I told him I never even read them. He seemed terribly disappointed at that, and confided to me that all the dramatic critics were in a conspiracy against him, and that they were all to be bought.”

“I believe he was quite right there. But, on the other hand, most of them are not at all expensive.”

“Well, he seemed to think they were beyond his means. By this time the lights were being put out in the theatre, and I had to go. He wanted me to try some cigars which he strongly recommended. I declined. The next night, of course, I arrived at the theatre again. When he saw me he made me a low bow, and assured me that I was a patron of art. He was a most offensive brute, though he had an extraordinary passion for Shakespeare. He told me once, with an air of pride, that his three bankruptcies were entirely due to the poet, whom he insisted on calling ’The Bard.’ He seemed to think it a distinction.”

“It was a distinction, my dear Dorian,–a great distinction. But when did you first speak to Miss Sibyl Vane?”

“The third night. She had been playing Rosalind. I could not help going round. I had thrown her some flowers, and she had looked at me; at least I fancied that she had. The old Jew was persistent. He seemed determined to bring me behind, so I consented. It was curious my not wanting to know her, wasn’t it?”

[28] “No; I don’t think so.”

“My dear Harry, why?”

“I will tell you some other time. Now I want to know about the girl.”

“Sibyl? Oh, she was so shy, and so gentle. There is something of a child about her. Her eyes opened wide in exquisite wonder when I told her what I thought of her performance, and she seemed quite unconscious of her power. I think we were both rather nervous. The old Jew stood grinning at the door-way of the dusty greenroom, making elaborate speeches about us both, while we stood looking at each other like children. He would insist on calling me ’My Lord,’ so I had to assure Sibyl that I was not anything of the kind. She said quite simply to me, ’You look more like a prince.’”

“Upon my word, Dorian, Miss Sibyl knows how to pay compliments.”

“You don’t understand her, Harry. She regarded me merely as a person in a play. She knows nothing of life. She lives with her mother, a faded tired woman who played Lady Capulet in a sort of magenta dressing-wrapper on the first night, and who looks as if she had seen better days.”

“I know that look. It always depresses me.”

“The Jew wanted to tell me her history, but I said it did not interest me.”

“You were quite right. There is always something infinitely mean about other people’s tragedies.”

“Sibyl is the only thing I care about. What is it to me where she came from? From her little head to her little feet, she is absolutely and entirely divine. I go to see her act every night of my life, and every night she is more marvellous.”

“That is the reason, I suppose, that you will never dine with me now. I thought you must have some curious romance on hand. You have; but it is not quite what I expected.”

“My dear Harry, we either lunch or sup together every day, and I have been to the Opera with you several times.”

“You always come dreadfully late.”

“Well, I can’t help going to see Sibyl play, even if it is only for an act. I get hungry for her presence; and when I think of the wonderful soul that is hidden away in that little ivory body, I am filled with awe.”

“You can dine with me to-night, Dorian, can’t you?”

He shook his head. “To night she is Imogen,” he answered, “and tomorrow night she will be Juliet.”

“When is she Sibyl Vane?”

“Never.”

“I congratulate you.”

“How horrid you are! She is all the great heroines of the world in one. She is more than an individual. You laugh, but I tell you she has genius. I love her, and I must make her love me. You, who know all the secrets of life, tell me how to charm Sibyl Vane to love me! I want to make Romeo jealous. I want the dead lovers of the [29] world to hear our laughter, and grow sad. I want a breath of our passion to stir their dust into consciousness, to wake their ashes into pain. My God, Harry, how I worship her!” He was walking up and down the room as he spoke. Hectic spots of red burned on his cheeks. He was terribly excited.

Lord Henry watched him with a subtle sense of pleasure. How different he was now from the shy, frightened boy he had met in Basil Hallward’s studio! His nature had developed like a flower, had borne blossoms of scarlet flame. Out of its secret hiding-place had crept his Soul, and Desire had come to meet it on the way.

“And what do you propose to do?” said Lord Henry, at last.

“I want you and Basil to come with me some night and see her act. I have not the slightest fear of the result. You won’t be able to refuse to recognize her genius. Then we must get her out of the Jew’s hands. She is bound to him for three years–at least for two years and eight months–from the present time. I will have to pay him something, of course. When all that is settled, I will take a West-End theatre and bring her out properly. She will make the world as mad as she has made me.”

“Impossible, my dear boy!”

“Yes, she will. She has not merely art, consummate art-instinct, in her, but she has personality also; and you have often told me that it is personalities, not principles, that move the age.”

“Well, what night shall we go?”

“Let me see. To-day is Tuesday. Let us fix to-morrow. She plays Juliet to-morrow.”

“All right. The Bristol at eight o’clock; and I will get Basil.”

“Not eight, Harry, please. Half-past six. We must be there before the curtain rises. You must see her in the first act, where she meets Romeo.”

“Half-past six! What an hour! It will be like having a meat-tea. However, just as you wish. Shall you see Basil between this and then? Or shall I write to him?”

“Dear Basil! I have not laid eyes on him for a week. It is rather horrid of me, as he has sent me my portrait in the most wonderful frame, designed by himself, and, though I am a little jealous of it for being a whole month younger than I am, I must admit that I delight in it. Perhaps you had better write to him. I don’t want to see him alone. He says things that annoy me.”

Lord Henry smiled. “He gives you good advice, I suppose. People are very fond of giving away what they need most themselves.”

“You don’t mean to say that Basil has got any passion or any romance in him?”

“I don’t know whether he has any passion, but he certainly has romance,” said Lord Henry, with an amused look in his eyes. “Has he never let you know that?”

“Never. I must ask him about it. I am rather surprised to hear it. He is the best of fellows, but he seems to me to be just a bit of a Philistine. Since I have known you, Harry, I have discovered that.”

“Basil, my dear boy, puts everything that is charming in him into [30] his work. The consequence is that he has nothing left for life but his prejudices, his principles, and his common sense. The only artists I have ever known who are personally delightful are bad artists. Good artists give everything to their art, and consequently are perfectly uninteresting in themselves. A great poet, a really great poet, is the most unpoetical of all creatures. But inferior poets are absolutely fascinating. The worse their rhymes are, the more picturesque they look. The mere fact of having published a book of second-rate sonnets makes a man quite irresistible. He lives the poetry that he cannot write. The others write the poetry that they dare not realize.”

“I wonder is that really so, Harry?” said Dorian Gray, putting some perfume on his handkerchief out of a large gold-topped bottle that stood on the table. “It must be, if you say so. And now I must be off. Imogen is waiting for me. Don’t forget about to-morrow. Good- by.”

As he left the room, Lord Henry’s heavy eyelids drooped, and he began to think. Certainly few people had ever interested him so much as Dorian Gray, and yet the lad’s mad adoration of some one else caused him not the slightest pang of annoyance or jealousy. He was pleased by it. It made him a more interesting study. He had been always enthralled by the methods of science, but the ordinary subject-matter of science had seemed to him trivial and of no import. And so he had begun by vivisecting himself, as he had ended by vivisecting others. Human life,–that appeared to him the one thing worth investigating. There was nothing else of any value, compared to it. It was true that as one watched life in its curious crucible of pain and pleasure, one could not wear over one’s face a mask of glass, or keep the sulphurous fumes from troubling the brain and making the imagination turbid with monstrous fancies and misshapen dreams. There were poisons so subtle that to know their properties one had to sicken of them. There were maladies so strange that one had to pass through them if one sought to understand their nature. And, yet, what a great reward one received! How wonderful the whole world became to one! To note the curious hard logic of passion, and the emotional colored life of the intellect,–to observe where they met, and where they separated, at what point they became one, and at what point they were at discord,–there was a delight in that! What matter what the cost was? One could never pay too high a price for any sensation.

He was conscious–and the thought brought a gleam of pleasure into his brown agate eyes–that it was through certain words of his, musical words said with musical utterance, that Dorian Gray’s soul had turned to this white girl and bowed in worship before her. To a large extent, the lad was his own creation. He had made him premature. That was something. Ordinary people waited till life disclosed to them its secrets, but to the few, to the elect, the mysteries of life were revealed before the veil was drawn away. Sometimes this was the effect of art, and chiefly of the art of literature, which dealt immediately with the passions and the intellect. But now and then a complex personality took the place and assumed the office of art, was indeed, in its [31] way, a real work of art, Life having its elaborate masterpieces, just as poetry has, or sculpture, or painting.

Yes, the lad was premature. He was gathering his harvest while it was yet spring. The pulse and passion of youth were in him, but he was becoming self-conscious. It was delightful to watch him. With his beautiful face, and his beautiful soul, he was a thing to wonder at. It was no matter how it all ended, or was destined to end. He was like one of those gracious figures in a pageant or a play, whose joys seem to be remote from one, but whose sorrows stir one’s sense of beauty, and whose wounds are like red roses.

Soul and body, body and soul–how mysterious they were! There was animalism in the soul, and the body had its moments of spirituality. The senses could refine, and the intellect could degrade. Who could say where the fleshly impulse ceased, or the psychical impulse began? How shallow were the arbitrary definitions of ordinary psychologists! And yet how difficult to decide between the claims of the various schools! Was the soul a shadow seated in the house of sin? Or was the body really in the soul, as Giordano Bruno thought? The separation of spirit from matter was a mystery, and the union of spirit with matter was a mystery also.

He began to wonder whether we should ever make psychology so absolute a science that each little spring of life would be revealed to us. As it was, we always misunderstood ourselves, and rarely understood others. Experience was of no ethical value. It was merely the name we gave to our mistakes. Men had, as a rule, regarded it as a mode of warning, had claimed for it a certain moral efficacy in the formation of character, had praised it as something that taught us what to follow and showed us what to avoid. But there was no motive power in experience. It was as little of an active cause as conscience itself. All that it really demonstrated was that our future would be the same as our past, and that the sin we had done once, and with loathing, we would do many times, and with joy.

It was clear to him that the experimental method was the only method by which one could arrive at any scientific analysis of the passions; and certainly Dorian Gray was a subject made to his hand, and seemed to promise rich and fruitful results. His sudden mad love for Sibyl Vane was a psychological phenomenon of no small interest. There was no doubt that curiosity had much to do with it, curiosity and the desire for new experiences; yet it was not a simple but rather a very complex passion. What there was in it of the purely sensuous instinct of boyhood had been transformed by the workings of the imagination, changed into something that seemed to the boy himself to be remote from sense, and was for that very reason all the more dangerous. It was the passions about whose origin we deceived ourselves that tyrannized most strongly over us. Our weakest motives were those of whose nature we were conscious. It often happened that when we thought we were experimenting on others we were really experimenting on ourselves.

While Lord Henry sat dreaming on these things, a knock came to the door, and his valet entered, and reminded him it was time to dress [32] for dinner. He got up and looked out into the street. The sunset had smitten into scarlet gold the upper windows of the houses opposite. The panes glowed like plates of heated metal. The sky above was like a faded rose. He thought of Dorian Gray’s young fiery-colored life, and wondered how it was all going to end.

When he arrived home, about half-past twelve o’clock, he saw a telegram lying on the hall-table. He opened it and found it was from Dorian. It was to tell him that he was engaged to be married to Sibyl Vane.

#DorianGray

0 notes