# Against the Grain/Chapter X

IN the course of that singular malady which plays such havoc with races of exhausted vitality, sudden intervals of calm succeed the crises. Without being able to explain the reason, Des Esseintes awoke quite strong and well one fine morning; no more hacking cough, no more wedges driven with a hammer into the back of the neck, but an ineffable sensation of well-being and a delightful clearness of brain, while his thoughts became cheerful; and instead of being opaque and dull, grew bright and iridescent, like brilliantly coloured soap bubbles.
This lasted some days; then in a moment, one afternoon, hallucinations of the sense of smell appeared.
His room was strong of frangipane. He looked to see if perhaps there was a bottle of the perfume lying about anywhere uncorked; but there was no such thing in the place. He visited his working-room and then the dining-room; the smell was there too.
He rang for his servant. "Don't you smell something?" he asked, but the man, after sniffing the air, declared he noticed nothing. Doubt was impossible; the nervous derangement was come again, taking the form of a fresh delusion of the senses.
Wearied by the persistency of this imaginary aroma, he resolved to plunge himself in a bath of real perfumes, hoping that his nasal homeopathy might cure him or, at any rate, moderate the force of the overpowering frangipane.
He betook himself to his study. There, beside an ancient font that served him as a wash-hand basin, under a long looking-glass in a frame of wrought iron that held imprisoned like a well-head silvered by the moonlight the pale surface of themirror, bottles of all sizes and shapes were ranged in rows on ivory shelves.
He placed them on a table and divided them into two series,—first, the simple perfumes, extracts and distilled waters; secondly, composite scents, such as are described under the generic name of bouquets.
He buried himself in an armchair and began to think.
Years ago he had trained himself as an expert in the science of perfumes; he held that the sense of smell was qualified to experience pleasures equal to those pertaining to the ear and the eye, each of the five senses being capable, by dint of a natural aptitude supplemented by an erudite education, of receiving novel impressions, magnifying these tenfold, coordinating them, combining them into the whole that constitutes a work of art. It was not, in fact, he argued, more abnormal than an art should exist of disengaging odoriferous fluids than that other arts should whose function is to set up sonorous waves to strike the ear or variously coloured rays to impinge on the retina of the eyes; only, just as no one, without a special faculty of intuition developed by study, can distinguish a picture by a great master from a worthless daub, a motif of Beethoven from a tune by Clapisson, so no one, without a preliminary initiation, can avoid confounding at the first sniff a bouquet created by a great artist with a pot-pourri compounded by a manufacturer for sale in grocers' shops and fancy bazaars.
In this art of perfumes, one peculiarity had more than all others fascinated him, viz, the precision with which it can artificially imitate the real article.
Hardly ever, indeed, are scents actually produced from the flowers whose name they bear; the artist who should be bold enough to borrow his element from Nature alone would obtain only a half-and-half-result, unconvincing, lacking in style and elegance, the fact being that the essence obtained by distillation from the flowers themselves could at the best present but a far-off, vulgarized analogy with the real aroma of the living and growing flower, shedding its fragrant effluvia in the open air.
So, with the one exception of the jasmine, which admits of no imitation, no counterfeit, no copy, which refuses even any approximation, all flowers are perfectly represented by combinations of alcoholates and essences, extracting from the model its inmost individuality while adding that something, that heightened tone, that heady savour, that rare touch which makes a work of art.
In one word, in perfumery the artist completes and consummates the original natural odour, which he cuts, so to speak, and mounts as a jeweller improves and brings out the water of a precious stone.
Little by little, the arcana of this art, the most neglected of all, had been revealed to Des Esseintes, who could now decipher its language,—a diction as varied, as subtle as that of literature itself, a style of unprecedented conciseness under its apparent vagueness and uncertainty.
To reach this end, he had, first of all, been obliged to master the grammar, to understand the syntax of odours, to grasp the rules that govern them; then, once familiarized with this dialect, to study and compare the works of the divers masters of the craft, the Atkinsons and Lubins, the Chardins and Violets, the Legrands and Piesses, to analyze the construction of their sentences, to weigh the proportion of their words and the disposition of their periods.
Next, in this idiom of essences, it was for experience to come to the assistance of theories too often incomplete and commonplace.
The classic art of perfumery was, in truth, little diversified, almost colourless, uniformly run in a mould first shaped by old-world chemists; it was in its dotage, hide-bound in its ancient alembics, when the Romantic epoch dawned and took its part in modifying, in rejuvenating it, in making it more malleable and more supple.
Its history followed step by step that of the French language. The Louis XIII style, perfumed and full-flavoured, compounded of elements costly at that date, of iris powder, musk, civet, myrtle water, already known by the name of Angels' Water, barely sufficed to express the rude graces, the rather crude tints of the time which certain sonnets of Saint-Amand's have preserved for us. Later on, with the introduction of myrrh, frankincense, the mystic scents, powerful and austere, the pomp and stateliness of the Grand Siècle, the redundancy and artificiality of the orator's art, the full, sustained, wordy style of Bossuet and the great preachers became almost possible; later on again, the well-worn, sophisticated graces of French society under Louis XV. found a readier interpretation of their charm in the frangipane and maréchale, which offered in their way the very synthesis of the period. Then finally, after the indifference and incuriousness of the First Empire, which used Eau de Cologne and preparations of rosemary to excess, perfumery ran for inspiration, in the train of Victor Hugo and Gautier, to the lands of the sun; it created Oriental essences, selams overpowering with their spicy odours; invented new savours; tried and approved old tones and shades now rediscovered, which it made more complex, more subtle, more choice; definitely repudiating once for all the voluntary decrepitude to which the art had been reduced by the Malesherbes, the Andrieux, the Baour-Lormians, the vulgar distillers of its poetry.
Nor had the language of perfumes remained stationary since the epoch of 1830. Again it had progressed and following the march of the century had advanced side by side with the other arts. It, too, had complied with the whims of amateurs and artists, flying for motives to China and Japan, inventing scented albums, imitating the flowery nosegays of Takeoka; by a mingling of lavender and clove obtaining the perfume Rondeletia; by a union of patchouli and camphor, the singular aroma of India-ink; by compounding citron, clove and neroli (essence of orange blossoms), the odour, the Hovenia of Japan.
Des Esseintes studied, analyzed the soul of these fluids, expounded these texts; he took a delight, for his own personal satisfaction, in playing the part of psychologist, in unmounting and remounting the machinery of a work, in unscrewing the separate pieces forming the structure of a complex odour, and by long practice of this sort, his sense of smell had arrived at the certainty of an almost infallible touch.
Just as a wine-merchant knows the vintage by imbibing a single drop; as a hop-dealer, the instant he sniffs at a bag, can there and then name its precise quality and price; as a Chinese trader can declare at once the place of origin of the teas he examines, say on what farms of the Bohea mountains, in what Buddhist Monasteries, each specimen was grown, and the date at which its leaves were gathered, can state precisely the degree of heat used and the effect produced by its contact with plum blossom, with the Aglaia, with the Olea fragrans, with all or any of the perfumes employed to modify its flavour, to give it an added piquancy, to brighten up its rather dry savour with a whiff of fresh and alien flowers; even so could Des Esseintes, by the merest sniff at a scent, detail instantly the doses of its composition, explain the psychology of its blending; all but quote the name of the particular artist who wrote it and impressed on it, thepersonal mark of his style.
Needless to say, he possessed a collection of all the products used by perfume-makers; he had even some of the true Balm of Mecca, a very great rarity, to be procured only in certain regions of Arabia Petraea and guarded as a monopoly of the Grand Turk.
Seated now in his study at his working table, he was pondering the creation of a new bouquet, and had reached that moment of hesitation so familiar to authors who, after months of idleness, are preparing to start upon a fresh piece of work.
Like Balzac, who was haunted by an imperious craving to blacken reams of paper by way of getting his hand in, Des Esseintes felt the necessity of recovering his old cunning by dint of executing some task of minor importance. He determined to make heliotrope, and measured out the proper quantities from phials of almond and vanilla; then he changed his mind and resolved to try sweet-pea.
The phrases, the processes had escaped his memory. So he made experiments. No doubt in the fragrance of that flower, orange blossom was the dominant factor, he tried a number of combinations and ended by getting the right tone by blending the orange with the tuberose and rose, binding the three together with a drop of vanilla.
All his uncertainties vanished; a fever of eagerness stirred him, he was ready to set to work in earnest. He compounded a fresh brew of tea, adding a mixture of cassia and iris; then, sure of himself, he resolved to march boldly forward, to strike a thundering note, the overmastering crash of which should bury the whisper of that insinuating frangipane which still stealthily impregnated the room.
He handled amber; Tonquin musk, with its overpowering scent; patchouli, the most pronounced of all vegetable perfumes, whose blossom, in the natural state, gives off an odour compounded of wet wood and rusty iron. Do what he would, the associations of the eighteenth century haunted him, gowns with paniers and furbelows hovered before his eyes; memories of Boucher's "Venus," all flesh, without bones, stuffed with pink cotton-wool, beseiged him; recollections of the novel Thémidore and the exquisite Rosette with skirts high lifted in a fire-red despair, pursued him. In a rage, he sprang up and, to shake himself free from the obsession, sniffed in with all his might that unadulterated essence of spikenard that is so dear to Easterns and so disagreeable to Europeans, by reason of its over-strong savour of valerian. He staggered under the violence of the shock; as if crushed under the blow of a mallet, the delicate fibrils of the dainty scent disappeared. He took advantage of the moment's respite to escape from the dead centuries, the old-time emanations, to enter, as he had been used to do in other days, on creations less limited in scope and more modern in fashion.
Of old, he had loved to soothe his spirit with harmonies in perfumery; he would use effects analogous to those of the poets, would adopt, in a measure, the admirable metrical scheme characterizing certain pieces of Baudelaire's, for instance "l'Irréparable" and "le Balcon," where the last of the five lines composing the strophe is the echo of the first, returning like a refrain to drown the soul in infinite depths of melancholy and languor.
He wandered, lost in the dreams these aromatic stanzas called up in his brain, till suddenly recalled to his starting point, to the original motif of his meditations, by the recurrence of the initial theme, re-appearing at studied intervals in the fragrant orchestration of the poem.
For the actual moment, he was fain to roam in freedom amid a landscape full of surprises and changes, and he began by a simple phrase,—ample, sonorous, at once opening a view over an immense stretch of country.
With the help of his vaporizers, he injected into the room an essence composed of ambrosia, Mitcham lavender, sweet-pea, compound bouquet,—an essence which, if distilled by a true artist, well deserves the name bestowed on it of "extract of meadow flowers"; then, into this meadow, he introduced a carefully modulated infusion of tuberose, orange and almond blossom, and instantly artificial lilacs came into being, while lindens swayed in the breeze, shedding on the ground about them their pale emanations, mimicked by the London extract of tilia.
This scene, once arranged in a few imposing lines, melting to the horizon under his closed eyes, he insinuated a light rain of human, not to say half feline, essences, smacking of the petticoat, announcing woman powdered and painted,—the stephanotis, the ayapana, the opoponax, the chypre, the champaka, the sarcanthus, over which he superimposed a dash of seringa, to suggest, amid the factitious life of make-up and make-belief which they evoked, a natural flower ofhearty, uncontrolled laughter, of the joys of existence in the eye of the sun.
Then he let these fragrant waves escape by a ventilator, keeping only the country scent, which he renewed and reinforced, strengthening the dose so as to force it to recur like the burden of a song at the end of each strophe. Little by little, the feminine aroma disappeared, the country was left without inhabitants. Then, on the enchanted horizon, rose a row of factories whose tall chimneys flamed at their tops like so many bowls of punch.
A breath as of manufactories, of chemical works now floated on the breeze which he raised by waving fans, though Nature still continued to sweeten with her fragrant emanations this foulness of the atmosphere.
Des Esseintes proceeded to turn about and warm between his hands a ball of styrax, and a very curious odour filled the room, a smell at once repugnant and exquisite, blending the delicious scent of the jonquil with the filthy stench of guttapercha and coal tar. He disinfected his hands, shut away his resin in a box hermetically sealed, and the stinking factories vanished in their turn. Then, he tossed amid the revivified vapours of lindens and meadow-grass some drops of "new mown hay," and on the magic spot, instantly bared of its lilacs, rose mounds of hay, bringing with them a new season, scattering their delicate odours reminiscent of high summer.
Last of all, when he had sufficiently savoured the sight, he hurriedly scattered about exotic perfumes, exhausted his vaporizers, concentrated his strongest essences, gave the rein to all his balms, and lo! the stifling closeness of the room was filled with an atmosphere, maddening and sublime, breathing powerful influences, impregnating with raging alcoholates an artificial breeze,—an atmosphere unnatural, yet delightful, paradoxical in its union of the allspice of the Tropics, the pungent savours of the sandalwood of China and the hediosmia of Japan with native odours of jasmine, hawthorn and vervain, forcing, to grow together, in despite of seasons and climates, trees of diverse essences, flowers of colours and fragrances the most opposite, creating by the blending and shock of all these tones one common perfume, unknown, unforeseen, extraordinary, wherein re-appeared at intervals as a persistent refrain, the decorative phrase of the opening, the odour of the broad meadows breathed over by the lilacs and the lindens.
Suddenly a sharp agony assailed him; it felt as though a centre-bit were boring into his temples. He opened his eyes, to find himself once more in the middle of his study, seated before his working table; he got up and walked painfully, half-stunned, to the window, which he threw part open. A current of fresh air sweetened the stifling atmosphere that enveloped him; he marched up and down the room to recover the proper use of his limbs, going to and fro, his eyes fixed on the ceiling on which crabs and seaweed powdered with sea salt stood out in relief from a grained background, yellow as the sand of a beach. A similar design decorated the plinths bordering the panels, which in their turn were covered withJapanese crape, a watery green in colour and slightly waved to imitate the ripple of a wind-blown river, while down the gentle current floated a rose leaf round which frolicked a swarm of little fishes dashed in with two strokes of the pen.
But his eyes were still heavy; he left off pacing the short length of floor between the font and the bath and leant his elbows on the window sill. Presently his dizziness ceased, and after carefully recorking the bottles of scents and essences, he seized the opportunity to tidy his apparatus for making up the face,—his paints and powders and the like. He had not touched these things since his arrival at Fontenay, and he was almost astonished now at the sight of this collection once visited by so many women. One on top of the other, phials and porcelain pots littered the table confusion. Here was a china box, of the green sort, containing schnouda, that marvellous white cream which, once spread on the cheeks, changes under the influence of the air to a tender pink, then to a scarlet so natural that it gives an absolutely convincing illusion of a complexion mantling with red blood; there, jars incrusted with mother-o'-pearl held Japanese gold and Athens green, coloured like the wing of the cantharides beetle, golds and greens that blend into a deep purple directly they are moistened; beside pots full of filbert paste, of serkis of the harem, of emulsions of Cashmere lilies, of lotions of strawberry and elderfiower for the skin, beside little phials of solutions of India-ink and rose-water for the eyes, lay a host of different instruments, of mother-o'-pearl, of ivory and of silver, mixed up with dainty brushes for the teeth and gums,—pincers, scissors, strigils, stumps, crimpers, powder-puffs, back-scratchers, patches and files. He handled all this elaborate apparatus, bought in former days to please a mistress who found an ineffable pleasure in certain aromatics and certain balms, an ill-balanced, nerve-ridden woman, who loved to have her nipples macerated in scents, but who only really experienced a genuine and over-mastering ecstasy when her head was tickled with a comb and she could, in the act of being caressed by a lover, breathe the smell of chimney soot, of wet plaster from a house building in rainy weather, or of dust churned up by the heavy thunder drops of a summer storm.
He pondered these recollections, recalling particularly an afternoon spent, partly for want of anything better to do, partly out of curiosity, in this woman's company at her sister's house at Pantin, the memory of which stirred in his breast a whole forgotten world of long-ago thoughts and oldtime scents. While the two women were chattering and showing each other their frocks, he had gone to the window and, through the dusty panes, had looked out on the long, muddy street and heard its pavements echo under the incessant beat of heavy boots trampling through the puddles.
The scene, now far away in the past, suddenly stood out before him with extraordinary vividness. Pantin lay there in front of his eyes, bustling and alive, imaged in the green, dead water of the mirror into which his eyes involuntarily gazed. A hallucination carried him far away from Fontenay; the looking-glass reproduced for him the same reflections the street had once presented to his bodily eye, and buried in a dream, he said over the ingenious, melancholy yet consoling, anthem he had noted down on that former occasion on getting back to Paris: -
"Yes, the time of the great rains is come; behold, the gutter-pipes vomit their drippings on to the pavements, with a song of many waters, and the horse-dung lies fermenting in the puddles that fill the holes in the macadam with a coffee-coloured fluid; everywhere, for the humble wayfarer, are foot-baths full to overflowing.
"Under the lowering sky, in the dull air, the walls of the houses drip black sweat and the cellar-openings stink; loathing of life is strong within the soul and the spleen is a torment to the flesh; the seeds of filthiness that every man has in his heart begin to bud; cravings for foul pleasures trouble the austerest and in the brain of respectable folks criminal desires spring up.
"And yet, there I am, warming myself before a blazing fire, while a basket of blowing flowers on a table fills the room with a sweet savour of benzoin, geranium and bent-grass. In mid November, it is still spring-time at Pantin, in the Rue de Paris, and I find myself laughing in my sleeve to think of the timorous family parties that, in order to avoid the approach of winter, fly to Antibes or Cannes as fast as steam will take them.
"Inclement Nature goes for nothing in this strange phenomenon; it is to industry, to commerce, and that alone, be it said, that Pantin owes this artificial spring.
"The truth is, these flowers are of lustring, mounted on brass-wire, and the spring-like fragrance floating in through the cracks of the window-frame, is exhaled by the neighbouring factories where Pinaud and Saint-James make their perfumes.
"For the artisan exhausted by the hard labour of the workshops, for the small clerk, alas! only too often a father, the illusion of a breath or two of good air is a possibility—thanks to these manufacturers.
"Indeed, out of this scarce believable illusion of the country may be developed a quite rational medical treatment. Fast livers affected by chest complaints who are now carted off to the South mostly die, broken down by the rupture of all their habits of life, by the homesick craving to return to the Parisian pleasures that have brought them to this pass by their excess. Here, in an artificial climate, heated and regulated by stoves, libertine recollections will return, gently and harmlessly, along with the languishing feminine emanations given off by scent factories. In lieu of the deadly dreariness of provincial existence, the physician can by this device supply his patient platonically with the longed-for atmosphere of Parisian boudoirs, of Parisian haunts of pleasure.
"In the majority of cases, all that will be required to complete the cure is for the sick man to possess a little touch of imagination.
"Now, seeing that, in these times of ours, there is no single thing really genuine to be found; seeing that the wine we drink and the liberty we acclaim are equally adulterate and derisory; considering how remarkable a dose of credulity it takes to suppose the governing classes to deserve respect and the lower to be worthy either of relief or commiseration, it appears to me," concluded Des Esseintes, "neither more absurd nor more insane to demand of my neighbour a sum total of illusion barely equal to that he expends every day in his life for quite idiotic objects, that he may successfully persuade himself that the town of Pantin is an artificial Nice, a factitious Menton."
"All which," he exclaimed, rudely interrupted in his reflexions by a sudden failure of all his bodily powers, "does not alter the fact that I must beware of these delicious and abominable experiments that are killing me." He heaved a sigh: "Well, well, more pleasures to moderate, more precautions to take,"—and he retired for refuge to his study, thinking in this way to escape more easily from the haunting influence of the perfumes.
He threw the window wide open, delighted to enjoy an air bath; but next moment, the wind seemed to bring with it a vague breath of essence of bergamot, mingled with a smell of jasmine, cassia and rose-water. He shuddered, asking himself if he was not surely under the tyranny of one of those possessions by the devil that the Priests used to exorcise in the Middle Ages. Soon the odour changed and altered, however. An uncertain savour of tincture of tolu, balm of Peru, saffron, blended together by a few drops of amber and musk, now floated in from the sleeping village at the bottom of the hill; then, suddenly, in an instant, the metamorphosis was wrought, the scent of frangipane, of which his nostrils had caught the elements and were so familiar with the analysis, filled all the air from the valley of Fontenay away to the Fort, assailing his exhausted sense of smell, shaking afresh his shattered nerves, prostrating him to such a degree that he fell swooning and half dying across the window sill.