After all, in the eyes of the moralist, there were extenuating circumstances in Pons’ case. Man only lives, in fact, by some personal satisfaction. The passionless, perfectly righteous man is not human; he is a monster, an angel wanting wings. The angel of Christian mythology has nothing but a head. On earth, the righteous person is the sufficiently tiresome Grandison, for whom the very Venus of the Crosswords is sexless.
Setting aside one or two commonplace adventures in Italy, in which probably the climate accounted for his success, no woman had ever smiled upon Pons. Plenty of men are doomed to this fate. Pons was an abnormal birth; the child of parents well stricken in years, he bore the stigma of his untimely genesis; his cadaverous complexion might have been contracted in the flask of spirit-of-wine in which science preserves some extraordinary foetus. Artist though he was, with his tender, dreamy, sensitive soul, he was forced to accept the character which belonged to his face; it was hopeless to think of love, and he remained a bachelor, not so much of choice as of necessity. Then Gluttony, the sin of the continent monk, beckoned to Pons; he rushed upon temptation, as he had thrown his whole soul into the adoration of art and the cult of music. Good cheer and bric-a-brac gave him the small change for the love which could spend itself in no other way. As for music, it was his profession, and where will you find the man who is in love with his means of earning a livelihood? For it is with a profession as with marriage: in the long length you are sensible of nothing but the drawbacks.
Brillat-Savarin has deliberately set himself to justify the gastronome, but perhaps even he has not dwelt sufficiently on the reality of the pleasures of the table. The demands of digestion upon the human economy produce an internal wrestling-bout of human forces which rivals the highest degree of amorous pleasure. The gastronome is conscious of an expenditure of vital power, an expenditure so vast that the brain is atrophied (as it were), that a second brain, located in the diaphragm, may come into play, and the suspension of all the faculties is in itself a kind of intoxication. A boa constrictor gorged with an ox is so stupid with excess that the creature is easily killed. What man, on the wrong side of forty, is rash enough to work after dinner? And remark in the same connection, that all great men have been moderate eaters. The exhilarating effect of the wing of a chicken upon invalids recovering from serious illness, and long confined to a stinted and carefully chosen diet, has been frequently remarked. The sober Pons, whose whole enjoyment was concentrated in the exercise of his digestive organs, was in the position of chronic convalescence; he looked to his dinner to give him the utmost degree of pleasurable sensation, and hitherto he had procured such sensations daily. Who dares to bid farewell to old habit? Many a man on the brink of suicide has been plucked back on the threshold of death by the thought of the cafe where he plays his nightly game of dominoes.
In the year 1835, chance avenged Pons for the indifference of womankind by finding him a prop for his declining years, as the saying goes; and he, who had been old from his cradle, found a support in friendship. Pons took to himself the only life-partner permitted to him among his kind — an old man and a fellow-musician.
But for La Fontaine’s fable, Les Deux Amis, this sketch should have borne the title of The Two Friends; but to take the name of this divine story would surely be a deed of violence, a profanation from which every true man of letters would shrink. The title ought to be borne alone and for ever by the fabulist’s masterpiece, the revelation of his soul, and the record of his dreams; those three words were set once and for ever by the poet at the head of a page which is his by a sacred right of ownership; for it is a shrine before which all generations, all over the world, will kneel so long as the art of printing shall endure.
Pons’ friend gave lessons on the pianoforte. They met and struck up an acquaintance in 1834, one prize day at a boarding-school; and so congenial were their ways of thinking and living, that Pons used to say that he had found his friend too late for his happiness. Never, perhaps, did two souls, so much alike, find each other in the great ocean of humanity which flowed forth, in disobedience to the will of God, from its source in the Garden of Eden. Before very long the two musicians could not live without each other. Confidences were exchanged, and in a week’s time they were like brothers. Schmucke (for that was his name) had not believed that such a man as Pons existed, nor had Pons imagined that a Schmucke was possible. Here already you have a sufficient description of the good couple; but it is not every mind that takes kindly to the concise synthetic method, and a certain amount of demonstration is necessary if the credulous are to accept the conclusion.
This pianist, like all other pianists, was a German. A German, like the eminent Liszt and the great Mendelssohn, and Steibelt, and Dussek, and Meyer, and Mozart, and Doelher, and Thalberg, and Dreschok, and Hiller, and Leopold Hertz, Woertz, Karr, Wolff, Pixis, and Clara Wieck — and all Germans, generally speaking. Schmucke was a great musical composer doomed to remain a music master, so utterly did his character lack the audacity which a musical genius needs if he is to push his way to the front. A German’s naivete does not invariably last him through his life; in some cases it fails after a certain age; and even as a cultivator of the soil brings water from afar by means of irrigation channels, so, from the springs of his youth, does the Teuton draw the simplicity which disarms suspicion — the perennial supplies with which he fertilizes his labors in every field of science, art, or commerce. A crafty Frenchman here and there will turn a Parisian tradesman’s stupidity to good account in the same way. But Schmucke had kept his child’s simplicity much as Pons continued to wear his relics of the Empire — all unsuspectingly. The true and noble-hearted German was at once the theatre and the audience, making music within himself for himself alone. In this city of Paris he lived as a nightingale lives among the thickets; and for twenty years he sang on, mateless, till he met with a second self in Pons. [See Une Fille d’Eve.]
Both Pons and Schmucke were abundantly given, both by heart and disposition, to the peculiarly German sentimentality which shows itself alike in childlike ways — in a passion for flowers, in that form of nature-worship which prompts a German to plant his garden-beds with big glass globes for the sake of seeing miniature pictures of the view which he can behold about him of a natural size; in the inquiring turn of mind that sets a learned Teuton trudging three hundred miles in his gaiters in search of a fact which smiles up in his face from a wayside spring, or lurks laughing under the jessamine leaves in the back-yard; or (to take a final instance) in the German craving to endow every least detail in creation with a spiritual significance, a craving which produces sometimes Hoffmann’s tipsiness in type, sometimes the folios with which Germany hedges the simplest questions round about, lest haply any fool should fall into her intellectual excavations; and, indeed, if you fathom these abysses, you find nothing but a German at the bottom.
Both friends were Catholics. They went to Mass and performed the duties of religion together; and, like children, found nothing to tell their confessors. It was their firm belief that music is to feeling and thought as thought and feeling are to speech; and of their converse on this system there was no end. Each made response to the other in orgies of sound, demonstrating their convictions, each for each, like lovers.
Schmucke was as absent-minded as Pons was wide-awake. Pons was a collector, Schmucke a dreamer of dreams; Schmucke was a student of beauty seen by the soul, Pons a preserver of material beauty. Pons would catch sight of a china cup and buy it in the time that Schmucke took to blow his nose, wondering the while within himself whether the musical phrase that was ringing in his brain — the motif from Rossini or Bellini or Beethoven or Mozart — had its origin or its counterpart in the world of human thought and emotion. Schmucke’s economies were controlled by an absent mind, Pons was a spendthrift through passion, and for both the result was the same — they had not a penny on Saint Sylvester’s day.
Perhaps Pons would have given way under his troubles if it had not been for this friendshi
p; but life became bearable when he found some one to whom he could pour out his heart. The first time that he breathed a word of his difficulties, the good German had advised him to live as he himself did, and eat bread and cheese at home sooner than dine abroad at such a cost. Alas! Pons did not dare to confess that heart and stomach were at war within him, that he could digest affronts which pained his heart, and, cost what it might, a good dinner that satisfied his palate was a necessity to him, even as your gay Lothario must have a mistress to tease.
In time Schmucke understood; not just at once, for he was too much of a Teuton to possess that gift of swift perception in which the French rejoice; Schmucke understood and loved poor Pons the better. Nothing so fortifies a friendship as a belief on the part of one friend that he is superior to the other. An angel could not have found a word to say to Schmucke rubbing his hands over the discovery of the hold that gluttony had gained over Pons. Indeed, the good German adorned their breakfast-table next morning with delicacies of which he went in search himself; and every day he was careful to provide something new for his friend, for they always breakfasted together at home.
If any one imagines that the pair could not escape ridicule in Paris, where nothing is respected, he cannot know that city. When Schmucke and Pons united their riches and poverty, they hit upon the economical expedient of lodging together, each paying half the rent of the very unequally divided second-floor of a house in the Rue de Normandie in the Marais. And as it often happened that they left home together and walked side by side along their beat of boulevard, the idlers of the quarter dubbed them “the pair of nutcrackers,” a nickname which makes any portrait of Schmucke quite superfluous, for he was to Pons as the famous statue of the Nurse of Niobe in the Vatican is to the Tribune Venus.
Mme. Cibot, portress of the house in the Rue de Normandie, was the pivot on which the domestic life of the nutcrackers turned; but Mme. Cibot plays so large a part in the drama which grew out of their double existence, that it will be more appropriate to give her portrait on her first appearance in this Scene of Parisian Life.
One thing remains to be said of the characters of the pair of friends; but this one thing is precisely the hardest to make clear to ninety-nine readers out of a hundred in this forty-seventh year of the nineteenth century, perhaps by reason of the prodigious financial development brought about by the railway system. It is a little thing, and yet it is so much. It is a question, in fact, of giving an idea of the extreme sensitiveness of their natures. Let us borrow an illustration from the railways, if only by way of retaliation, as it were, for the loans which they levy upon us. The railway train of to-day, tearing over the metals, grinds away fine particles of dust, grains so minute that a traveler cannot detect them with the eye; but let a single one of those invisible motes find its way into the kidneys, it will bring about that most excruciating, and sometimes fatal, disease known as gravel. And our society, rushing like a locomotive along its metaled track, is heedless of the all but imperceptible dust made by the grinding of the wheels; but it was otherwise with the two musicians; the invisible grains of sand sank perpetually into the very fibres of their being, causing them intolerable anguish of heart. Tender exceedingly to the pain of others, they wept for their own powerlessness to help; and their own susceptibilities were almost morbidly acute. Neither age nor the continual spectacle of the drama of Paris life had hardened two souls still young and childlike and pure; the longer they lived, indeed, the more keenly they felt their inward suffering; for so it is, alas! with natures unsullied by the world, with the quiet thinker, and with such poets among the poets as have never fallen into any excess.
Since the old men began housekeeping together, the day’s routine was very nearly the same for them both. They worked together in harness in the fraternal fashion of the Paris cab-horse; rising every morning, summer and winter, at seven o’clock, and setting out after breakfast to give music lessons in the boarding-schools, in which, upon occasion, they would take lessons for each other. Towards noon Pons repaired to his theatre, if there was a rehearsal on hand; but all his spare moments were spent in sauntering on the boulevards. Night found both of them in the orchestra at the theatre, for Pons had found a place for Schmucke, and upon this wise.
At the time of their first meeting, Pons had just received that marshal’s baton of the unknown musical composer — an appointment as conductor of an orchestra. It had come to him unasked, by a favor of Count Popinot, a bourgeois hero of July, at that time a member of the Government. Count Popinot had the license of a theatre in his gift, and Count Popinot had also an old acquaintance of the kind that the successful man blushes to meet. As he rolls through the streets of Paris in his carriage, it is not pleasant to see his boyhood’s chum down at heel, with a coat of many improbable colors and trousers innocent of straps, and a head full of soaring speculations on too grand a scale to tempt shy, easily scared capital. Moreover, this friend of his youth, Gaudissart by name, had done not a little in the past towards founding the fortunes of the great house of Popinot. Popinot, now a Count and a peer of France, after twice holding a portfolio had no wish to shake off “the Illustrious Gaudissart.” Quite otherwise. The pomps and vanities of the Court of the Citizen-King had not spoiled the sometime druggist’s kind heart; he wished to put his ex-commercial traveler in the way of renewing his wardrobe and replenishing his purse. So when Gaudissart, always an enthusiastic admirer of the fair sex, applied for the license of a bankrupt theatre, Popinot granted it on condition that Pons (a parasite of the Hotel Popinot) should be engaged as conductor of the orchestra; and at the same time, the Count was careful to send certain elderly amateurs of beauty to the theatre, so that the new manager might be strongly supported financially by wealthy admirers of feminine charms revealed by the costume of the ballet.
Gaudissart and Company, who, be it said, made their fortune, hit upon the grand idea of operas for the people, and carried it out in a boulevard theatre in 1834. A tolerable conductor, who could adapt or even compose a little music upon occasion, was a necessity for ballets and pantomimes; but the last management had so long been bankrupt, that they could not afford to keep a transposer and copyist. Pons therefore introduced Schmucke to the company as copier of music, a humble calling which requires no small musical knowledge; and Schmucke, acting on Pons’ advice, came to an understanding with the chef-de-service at the Opera-Comique, so saving himself the clerical drudgery.
The partnership between Pons and Schmucke produced one brilliant result. Schmucke being a German, harmony was his strong point; he looked over the instrumentation of Pons’ compositions, and Pons provided the airs. Here and there an amateur among the audience admired the new pieces of music which served as accompaniment to two or three great successes, but they attributed the improvement vaguely to “progress.” No one cared to know the composer’s name; like occupants of the baignoires, lost to view of the house, to gain a view of the stage, Pons and Schmucke eclipsed themselves by their success. In Paris (especially since the Revolution of July) no one can hope to succeed unless he will push his way quibuscumque viis and with all his might through a formidable host of competitors; but for this feat a man needs thews and sinews, and our two friends, be it remembered, had that affection of the heart which cripples all ambitious effort.
Pons, as a rule, only went to his theatre towards eight o’clock, when the piece in favor came on, and overtures and accompaniments needed the strict ruling of the baton; most minor theatres are lax in such matters, and Pons felt the more at ease because he himself had been by no means grasping in all his dealings with the management; and Schmucke, if need be, could take his place. Time went by, and Schmucke became an institution in the orchestra; the Illustrious Gaudissart said nothing, but he was well aware of the value of Pons’ collaborator. He was obliged to include a pianoforte in the orchestra (following the example of the leading theatres); the instrument was placed beside the conductor’s chair, and Schmucke played without increase of salary — a volu
nteer supernumerary. As Schmucke’s character, his utter lack of ambition or pretence became known, the orchestra recognized him as one of themselves; and as time went on, he was intrusted with the often needed miscellaneous musical instruments which form no part of the regular band of a boulevard theatre. For a very small addition to his stipend, Schmucke played the viola d’amore, hautboy, violoncello, and harp, as well as the piano, the castanets for the cachucha, the bells, saxhorn, and the like. If the Germans cannot draw harmony from the mighty instruments of Liberty, yet to play all instruments of music comes to them by nature.
The two old artists were exceedingly popular at the theatre, and took its ways philosophically. They had put, as it were, scales over their eyes, lest they should see the offences that needs must come when a corps de ballet is blended with actors and actresses, one of the most trying combinations ever created by the laws of supply and demand for the torment of managers, authors, and composers alike.
Every one esteemed Pons with his kindness and his modesty, his great self-respect and respect for others; for a pure and limpid life wins something like admiration from the worst nature in every social sphere, and in Paris a fair virtue meets with something of the success of a large diamond, so great a rarity it is. No actor, no dancer however brazen, would have indulged in the mildest practical joke at the expense of either Pons or Schmucke.
Pons very occasionally put in an appearance in the foyer; but all that Schmucke knew of the theatre was the underground passage from the street door to the orchestra. Sometimes, however, during an interval, the good German would venture to make a survey of the house and ask a few questions of the first flute, a young fellow from Strasbourg, who came of a German family at Kehl. Gradually under the flute’s tuition Schmucke’s childlike imagination acquired a certain amount of knowledge of the world; he could believe in the existence of that fabulous creature the lorette, the possibility of “marriages at the Thirteenth Arrondissement,” the vagaries of the leading lady, and the contraband traffic carried on by box-openers. In his eyes the more harmless forms of vice were the lowest depths of Babylonish iniquity; he did not believe the stories, he smiled at them for grotesque inventions. The ingenious reader can see that Pons and Schmucke were exploited, to use a word much in fashion; but what they lost in money they gained in consideration and kindly treatment.
Works of Honore De Balzac Page 727
