Author: Aldous Huxley
Category: Literature
Go to read content：https://onlinereadfreenovel.com/aldous-huxley/page,538,480199-complete_works_of_aldous_huxley.html
Perhaps this second and all too punctual miracle failed to make any very great impression on the public. In any case it was the last of its kind.
Time passed. The Thirty Years’ War went on and on. Richelieu grew richer and richer, and the people more and more miserable. There were peasant revolts against high taxes, and bourgeois revolts (in which Pascal’s father participated) against the lowering of interest rates on government bonds. Among the Ursulines of Loudun life went on as usual. Every few weeks the Good Angel (who was still M. de Beaufort, but in miniature, being now only three and a half feet high and not more than sixteen years old) renewed the fading names on the Prioress’s left hand. Enclosed now in a handsome reliquary, her chemise, with the unction of St. Joseph, had taken its place among the convent’s most precious and most efficacious relics.
At the end of 1642 Richelieu died and was followed to the grave, a few months later, by Louis XIII. On behalf of the five-year-old King, Anne of Austria and her lover, Cardinal Mazarin, ineptly ruled the country.
In 1644 Sœur Jeanne began to write her memoirs and acquired a new Jesuit director, Father Saint-Jure, to whom she sent her own and Surin’s still unfinished, work on the devils. Saint-Jure lent the manuscripts to the Bishop of Evreux, and the Bishop, who was in charge of the demoniacs of Louviers, proceeded to direct this new and, if possible, even more revolting orgy of madness and malice along the lines laid down at Loudun. “I think,” Laubardemont wrote to the Prioress, “I think that your correspondence with Father Saint-Jure has been of great service in this present affair.”
Less successful than the Louviers affair was the possession organized by M. Barré at Chinon. At first all seemed to be going well. A host of young women, including some belonging to the best families of the town, succumbed to the psychological infection. Blasphemy, convulsions, denunciations, obscenity — everything was in order. Unfortunately, one of the demoniac girls, called Beloquin, had a grudge against M. Giloire, a local priest. Going to church early one morning, she poured a bottleful of chicken’s blood on the high altar, then announced, during M. Barré’s exorcism, that it was her own, shed at midnight, while M. Giloire was violating her. Barré, of course, believed every word of it and began to question the other girls’ devils, with a view to collecting more incriminating evidence against his colleague. But the woman, from whom Beloquin had bought the chicken, confided her suspicions to a magistrate. The Lieutenant Criminel started an investigation. Barré was indignant and Beloquin counterattacked with excruciating pains in the hypochondries, magically induced, so her devils declared, by M. Giloire. Unimpressed, the Lieutenant Criminel called more witnesses. To escape from him, Beloquin fled to Tours, whose Archbishop was notoriously in favor of possessions. But the Archbishop was out of town and his place had been taken by an unsympathetic Coadjutor. He listened to Beloquin’s stories, then called in two midwives, who discovered that the pains, though real enough, were due to the presence in the uterus of a small pewter cannon ball. Cross-examined, the girl admitted that she had put it there herself. After which poor M. Barré was deprived of all his benefices and banished from the archidiocese of Touraine. He ended his days obscurely, as a pensioner in a monastery at Le Mans.
At Loudun, in the meantime, the devils had been tolerably quiet. On one memorable occasion, it is true, “I saw before me the forms of two exceedingly horrible men, and smelt a great stink. Each of these men carried rods; they seized me, took off my clothes, tied me to the bed post and birched me for the space of half an hour or more.” Fortunately, as her chemise had been pulled up over her head, the Prioress did not see herself naked. And when the two stinking personages pulled it down again and untied her, she “did not notice that anything occurred which was contrary to modesty.” There were some subsequent assaults from the same quarter; but in the main the miracles recorded by Sœur Jeanne during the next twenty years were celestial in origin. For example, her heart was split in two and marked, inwardly and invisibly, with the instruments of the Passion. On several occasions the souls of departed sisters appeared and spoke of purgatory. And all the time, of course, the sacred names were being exhibited through the parlor grating to visitors of quality, some devout, others merely curious or downright skeptical. At every renewal of the names, and frequently betweenwhiles, the Angel appeared and gave a prodigious amount of good advice, which was passed on, in interminable letters, to her director. He also gave advice to third parties — to gentlemen involved in lawsuits, to anxious mothers who wanted to know whether it would be better to marry off their daughters, rather disadvantageously, now, or to hang on in the hope of a better match presenting itself before it was too late for anything but the convent.
In 1648 the Thirty Years’ War came to an end. The power of the Habsburgs was broken and a third of the inhabitants of Germany had been liquidated. Europe was now ready for the antics of the Grand Monarque and French hegemony. It was a triumph. But meanwhile there was an interlude of anarchy, Fronde succeeded Fronde. Mazarin exiled himself and returned to power; retired once more and reappeared; then vanished forever from the scene.
At about the same time, obscure and out of favor, Laubardemont died. His only son had turned highwayman and been killed. His last surviving daughter had been obliged to take the veil and was now an Ursuline at Loudun, under her father’s old protégée.
In January, 1656, the first of the Provincial Letters was published, and four months later occurred the great Jansenist miracle — the healing of Pascal’s niece’s eye by the Holy Thom preserved at Port-Royal.
A year later Saint-Jure died, and the Prioress had nobody to write to except other nuns and poor Father Surin, who was still too ill to reply. What was her joy when, at the beginning of 1658, she received a letter in Surin’s hand — the first in more than twenty years. “How admirable,” she wrote to her friend Mme. du Houx, now a nun of the Visitation at Rennes, “how admirable is the leading of God, who having deprived me of Father Saint-Jure, now brings the dear Father of my soul into the condition of being able to write to me! Only a few days before receiving his letter, I had written to him at length about the state of my soul.”
She went on writing about the state of her soul — to Surin, to Mme. du Houx, to anyone who was ready to read and reply. If they were ever published, the Prioress’s surviving letters would fill several volumes. And how many more must have been lost! Sœur Jeanne, it is evident, was still under the impression that the “inner life” is a life of constant self-analysis in public. But in fact, of course, the inner life begins where the analyzable self leaves off. The soul that goes on talking about its states thereby prevents itself from knowing its divine ground. “It was not from want of will that I have refrained from writing to you, for truly I wish you all good; but because it seemed to me that enough has been said to effect all that is needed, and that what is wanting (if anything be wanting) is not writing or speaking — whereof ordinarily there is more than enough — but silence and work.” These words were addressed by St. John of the Cross to a group of nuns, who had complained that he did not answer the letters in which they had so minutely catalogued their mental states. But “speaking distracts; silence and work collect the thoughts and strengthen the spirit.” Nothing, alas, could silence the Prioress. She was as copious as Mme. de Sévigné; but the gossip was exclusively about herself.
In 1660, with the Restoration, the two British tourists, who had seen Sœur Jeanne in all her diabolic glory, at last came into their own. Tom Killigrew was made a Groom of the Bedchamber and licensed to build a theater, where he might put on plays without submitting them to censorship. As for John Maitland, who had been taken prisoner at Worcester and had spent nine years in confinement — he now became Secretary of State and the new King’s prime favorite.
The prioress, meanwhile, was feeling her age. She was ailing, and her double role of walking relic and verger, of sacred object and loquacious guide, fatigued her now beyond endurance. In 1662 the sacred names were renewed for the last tim
e; thenceforward there was nothing for the devout or the curious to see. But though the miracles had ceased, the spiritual pretension remained as great as ever. “I propose,” Surin wrote to her in one of his letters, “to speak to you of the prime necessity, of the very basis of grace — I mean humility. Let me beg you, then, to act in such a way that this holy humility may become the true and solid foundation of your soul. These things of which we speak in our letters — things, very often, of a sublime and lofty nature — must in no wise be permitted to compromise that virtue.” In spite of his credulity, in spite of his overestimation of the merely miraculous, Surin understood his correspondent only too well. Sœur Jeanne belonged to what, at that particular moment of history, was evidently a very common subspecies of bovarists. Just how common, we may infer from a note in Pascal’s Pensées. In St. Teresa, he writes, “what pleases God is her profound humility in revelations; what pleases men is the knowledge revealed to her. And so we work ourselves to death trying to imitate her words, imagining that thereby we are imitating her state of being. We neither love the virtue which God loves, nor do we try to bring ourselves into the state of being which God loves.”
With part of her mind Sœur Jeanne was probably convinced that she actually was the heroine of her own comedy. With another she must have been even more certain of the contrary. Mme. du Houx who, on more than one occasion, spent long months at Loudun was of opinion that her poor friend was living almost all the time in illusion.
Did that illusion persist to the very end? Or did Sœur Jeanne at least succeed in dying, not as the heroine before the footlights, but as herself behind the scenes? It was absurd, this backstage self of hers, it was pathetic; but if she would but acknowledge the fact, if she would only cease to impersonate the authoress of the Interior Castle, all might still be well. So long as she insisted on pretending to be someone else, there was no chance; but if she humbly confessed to being herself, then perhaps she might discover that, in reality, she had always been Someone Else.
After her death, which came in January, 1665, the Prioress’s comedy was transformed by the surviving members of the Community into the broadest of farces. The corpse was decapitated and Sœur Jeanne’s head took its place, in a silver-gilt box with crystal windows, beside the sacred chemise. A provincial artist was commissioned to paint an enormous picture of the expulsion of Behemoth. At the center of the composition the Prioress was shown kneeling in ecstasy before Father Surin, who was assisted by Father Tranquille and a Carmelite. In the middle distance sat Gaston d’Orléans and his Duchess, majestically looking on. Behind them, at a window, could be seen the faces of spectators of less exalted rank. Surrounded by a gloria and accompanied by cherubim, St. Joseph hovered overhead. In his right hand he held three thunderbolts, to be hurled at the black host of imps and demons that issued from between the demoniac’s parted lips.
For more than eighty years this picture hung in the Ursulines’ chapel and was an object of popular devotion. But in 1750 a visiting bishop of Poitiers ordered its removal. Tom between institutional patriotism and the duty to obey, the good sisters compromised by hanging a second, yet larger painting over the first. The Prioress might be in eclipse, but she was still there. Not, however, for very long. The convent fell on evil days and in 1772 was suppressed. The picture was entrusted to a canon of Sainte-Croix, the chemise and the mummified head were sent, in all probability, to some other, more fortunate nunnery of the Order. All three have now disappeared.
CHAPTER ELEVEN
WE PARTICIPATE IN a tragedy; at a comedy we only look. The tragic author feels himself into his personages; and so, from the other side, does the reader or listener. But in pure comedy there is no identification between creator and literary creature, between spectator and spectacle. The author looks, judges and records, from the outside; and from the outside his audience observes what he has recorded, judges as he has judged and, if the comedy is good enough, laughs. Pure comedy cannot be kept up for very long. That is why so many of the greatest comic writers have adopted the impure form, in which there is a constant transition from outwardness to inwardness, and back again. At one moment we merely see and judge and laugh; the next, we are made to sympathize and even to identify ourselves with one who, a few seconds before, was merely an object. Every figure of fun is potentially an Amiel or a Bashkirtseff; and every tormented author of confessions or an intimate journal can be seen, if we so desire, as a figure of fun.
Jeanne des Anges was one of those unfortunate human beings who consistently invite the outward approach, the purely comic treatment. And this in spite of the fact that she wrote confessions, which were intended to evoke the reader’s heartfelt sympathy with her very considerable sufferings. That we can read these confessions and still think of the poor Prioress as a comic figure is due to the fact that she was supremely an actress; and that, as an actress, she was almost always external even to herself. The “I” who does her confessing is sometimes a pastiche of St. Augustine, sometimes the queen of the demoniacs, sometimes the second St. Teresa — and sometimes, giving the whole show away, a shrewd and momentarily sincere young woman, who knows precisely who she is and how she is related to these other, more romantic personages. Without, of course, desiring to turn herself into a figure of fun, Sœur Jeanne employs all the devices of the comic writer — the sudden shift from mask to absurd face; the emphasis, the excessive protestations; the pious verbiage that so naively rationalizes some all too human wish below the surface.
Moreover, Sœur Jeanne wrote her confessions without reflecting that her readers might have other sources of information about the facts therein recorded. Thus, from the official record of the counts upon which Grandier was condemned, we know that the Prioress and several other nuns were overpowered by remorse at what they had done and tried to withdraw a testimony which they knew, even in the paroxysms of hysteria, to be completely false. Sœur Jeanne’s autobiography abounds in the conventional avowals of vanity, of pride, of lukewarmness. But of her greatest offense — the systematic lying which had brought an innocent man to the question and the flames — she makes no mention. Nor does she ever refer to the only creditable episode in the whole hideous story — her repentance and the public confession of her guilt. On second thoughts she preferred to accept the cynical assurances of Laubardemont and the Capuchins: her contrition was a trick of the devils, her lies were gospel truth. Any account of this episode, even the most favorable, would inevitably have spoiled her portrait of the authoress as a victim of the devil, miraculously rescued by God. Suppressing the strange and tragic facts, she chose to identify herself with an essentially bookish fiction. This sort of thing is the very stuff of comedy.
In the course of his life Jean-Joseph Surin thought, wrote and did many foolish, ill-judged and even grotesque things. But for anyone who has read his letters and his memoirs he must always remain an essentially tragic figure, in whose sufferings (however odd and however, in a certain sense, well-deserved) we always participate. We know him as he knew himself — from inside and without disguise. The “I” who does his confessing is always Jean-Joseph, never someone else, more romantic, never, as with the poor Prioress, that other, spectacular personage, who invariably ends by letting the cat out of the bag and so transforming the would-be sublime into the comic, the downright farcical.
The beginnings of Surin’s long tragedy have already been described. An iron will, directed by the highest ideal of spiritual perfection and by erroneous notions as to the relations between Absolute and relative, between God and nature, had overdriven a weak constitution, a temperament in unstable equilibrium. He was a sick man even before he came to Loudun. There, though he tried to mitigate the Manichaean excesses of the other exorcists, he became the victim of a too close and intense preoccupation with the idea and the apparent fact of radical Evil. The devils derived their strength from the very violence of the campaign, which was waged against them. Strength in the nuns, and strength in their exorcists. Under the influence of an
organized obsession with evil, the normally latent tendencies (tendencies to license and blasphemy, to which, by induction, a strict religious discipline always gives rise) came rushing to the surface. Lactance and Tranquille died in convulsions, “hand and foot in Belial’s gripe.” Surin underwent the same self-inflicted ordeal, but survived.
While working at Loudun, Surin found time, between the exorcisms and his own seizures, to write many letters. But except to his indiscreet friend, Father d’Attichy, he made no confidences. Meditation, mortification, purity of heart — these are the ordinary themes of his letters. The devils and his own trials are scarcely mentioned.