Light - Henri Barbusse (short novels to read .txt) 📗

CONTENTS


I. MYSELF
II. OURSELVES
III. EVENING AND DAWN
IV. MARIE
V. DAY BY DAY
VI. A VOICE IN THE EVENING
VII. A SUMMARY
VIII. THE BRAWLER
IX. THE STORM
X. THE WALLS
XI. AT THE WORLD'S END
XII. THE SHADOWS
XIII. WHITHER GOEST THOU?
XIV. THE RUINS
XV. AN APPARITION
XVI. DE PROFUNDIS CLAMAVI
XVII. MORNING
XVIII. EYES THAT SEE
XIX. GHOSTS
XX. THE CULT
XXI. NO!
XXII. LIGHT
XXIII. FACE TO FACE


CHAPTER I


MYSELF

All the days of the week are alike, from their beginning to their end.

At seven in the evening one hears the clock strike gently, and then the instant tumult of the bell. I close the desk, wipe my pen, and put it down. I take my hat and muffler, after a glance at the mirror--a glance which shows me the regular oval of my face, my glossy hair and fine mustache. (It is obvious that I am rather more than a workman.) I put out the light and descend from my little glass-partitioned office. I cross the boiler-house, myself in the grip of the thronging, echoing peal which has set it free. From among the dark and hurrying crowd, which increases in the corridors and rolls down the stairways like a cloud, some passing voices cry to me, "Good-night, Monsieur Simon," or, with less familiarity, "Good-night, Monsieur Paulin." I answer here and there, and allow myself to be borne away by everybody else.

Outside, on the threshold of the porch which opens on the naked plain and its pallid horizons, one sees the squares and triangles of the factory, like a huge black background of the stage, and the tall extinguished chimney, whose only crown now is the cloud of falling night. Confusedly, the dark flood carries me away. Along the wall which faces the porch, women are waiting, like a curtain of shadow, which yields glimpses of their pale and expressionless faces. With nod or word we recognize each other from the mass. Couples are formed by the quick hooking of arms. All along the ghostly avenue one's eyes follow the toilers' scrambling flight.

The avenue is a wan track cut across the open fields. Its course is marked afar by lines of puny trees, sooty as snuffed candles; by telegraph posts and their long spider-webs; by bushes or by fences, which are like the skeletons of bushes. There are a few houses. Up yonder a strip of sky still shows palely yellow above the meager suburb where creeps the muddy crowd detached from the factory. The west wind sets quivering their overalls, blue or black or khaki, excites the woolly tails that flutter from muffled necks, scatters some evil odors, attacks the sightless faces so deep-drowned beneath the sky.

There are taverns anon which catch the eye. Their doors are closed, but their windows and fanlights shine like gold. Between the taverns rise the fronts of some old houses, tenantless and hollow; others, in ruins, cut into this gloomy valley of the homes of men with notches of sky. The iron-shod feet all around me on the hard road sound like the heavy rolling of drums, and then on the paved footpath like dragged chains. It is in vain that I walk with head bent--my own footsteps are lost in the rest, and I cannot hear them.

We hurry, as we do every evening. At that spot in the inky landscape where a tall and twisted tree seems to writhe as if it had a soul, we begin suddenly to descend, our feet plunging forward. Down below we see the lights of Viviers sparkle. These men, whose day is worn out, stride towards those earthly stars. One hope is like another in the evening, as one weariness is like another; we are all alike. I, also. I go towards my light, like all the others, as on every evening.

* * * * * *


When we have descended for a long time the gradient ends, the avenue flattens out like a river, and widens as it pierces the town. Through the latticed boughs of the old plane trees--still naked on this last day of March--one glimpses the workmen's houses, upright in space, hazy and fantastic chessboards, with squares of light dabbed on in places, or like vertical cliffs in which our swarming is absorbed. Scattering among the twilight colonnade of the trees, these people engulf themselves in the heaped-up lodgings and rooms; they flow together in the cavity of doors; they plunge into the houses; and there they are vaguely turned into lights.

I continue to walk, surrounded by several companions who are foremen and clerks, for I do not associate with the workmen. Then there are handshakes, and I go on alone.

Some dimly seen wayfarers disappear; the sounds of sliding locks and closing shutters are heard here and there; the houses have shut themselves up, the night-bound town becomes a desert profound. I can hear nothing now but my own footfall.

Viviers is divided into two parts--like many towns, no doubt. First, the rich town, composed of the main street, where you find the Grand Café, the elegant hotels, the sculptured houses, the church and the castle on the hill-top. The other is the lower town, which I am now entering. It is a system of streets reached by an extension of that avenue which is flanked by the workmen's barracks and climbs to the level of the factory. Such is the way which it has been my custom to climb in the morning and to descend when the light is done, during the six years of my clerkship with Messrs. Gozlan & Co. In this quarter I am still rooted. Some day I should like to live yonder; but between the two halves of the town there is a division--a sort of frontier, which has always been and will always be.

In the Rue Verte I meet only a street lamp, and then a mouse-like little girl who emerges from the shadows and enters them again without seeing me, so intent is she on pressing to her heart, like a doll, the big loaf they have sent her to buy. Here is the Rue de l'Etape, my street. Through the semi-darkness, a luminous movement peoples the hairdresser's shop, and takes shape on the dull screen of his window. His transparent door, with its arched inscription, opens just as I pass, and under the soap-dish,[1] whose jingle summons customers, Monsieur Justin Pocard himself appears, along with a rich gust of scented light. He is seeing a customer out, and improving the occasion by the utterance of certain sentiments; and I had time to see that the customer, convinced, nodded assent, and that Monsieur Pocard, the oracle, was caressing his white and ever-new beard with his luminous hand.

[Footnote 1: The hanging sign of a French barber.--Tr.]

I turn round the cracked walls of the former tinplate works, now bowed and crumbling, whose windows are felted with grime or broken into black stars. A few steps farther I think I saw the childish shadow of little Antoinette, whose bad eyes they don't seem to be curing; but not being certain enough to go and find her I turn into my court, as I do every evening.

Every evening I find Monsieur Crillon at the door of his shop at the end of the court, where all day long he is fiercely bent upon trivial jobs, and he rises before me like a post. At sight of me the kindly giant nods his big, shaven face, and the square cap on top, his huge nose and vast ears. He taps the leather apron that is hard as a plank. He sweeps me along to the side of the street, sets my back against the porch and says to me, in a low voice, but with heated conviction, "That Pétrarque chap, he's really a bad lot."

He takes off his cap, and while the crescendo nodding of his bristly head seems to brush the night, he adds: "I've mended him his purse. It had become percolated. I've put him a patch on that cost me thirty centimes, and I've resewn the edge with braid, and all the lot. They're expensive, them jobs. Well, when I open my mouth to talk about that matter of his sewing-machine that I'm interested in and that he can't use himself, he becomes congealed."

He recounts to me the mad claims of Trompson in the matter of his new soles, and the conduct of Monsieur Becret, who, though old enough to know better, had taken advantage of his good faith by paying for the repair of his spout with a knife "that would cut anything it sees." He goes on to detail for my benefit all the important matters in his life. Then he says, "I'm not rich, I'm not, but I'm consentious. If I'm a botcher, it's 'cos my father and my grandfather were botchers before me. There's some that's for making a big stir in the world, there are. I don't hold with that idea. What I does, I does."

Suddenly a sonorous tramp persists and repeats itself in the roadway, and a shape of uncertain equilibrium emerges and advances towards us by fits and starts; a shape that clings to itself and is impelled by a force stronger than itself. It is Brisbille, the blacksmith, drunk, as usual.

Espying us, Brisbille utters exclamations. When he has reached us he hesitates, and then, smitten by a sudden idea, he comes to a standstill, his boots clanking on the stones, as if he were a cart. He measures the height of the curb with his eye, but clenches his fists, swallows what he wanted to say, and goes off reeling, with an odor of hatred and wine, and his face slashed with red patches.

"That anarchist!" said Crillon, in disgust; "loathsome notions, now, aren't they? Ah! who'll rid us of him and his alcoholytes?" he adds, as he offers me his hand. "Good-night. I'm always saying to the Town Council, 'You must give 'em clink,' I says, 'that gang of Bolshevists, for the slightest infractionment of the laws against drunkenness.' Yes, indeed! There's that Jean Latrouille in the Town Council, eh? They talk about keeping order, but as soon as it's a question of a-doing of it, they seem like a cold draught."

The good fellow is angry. He raises his great fist and shakes it in space like a medieval mace. Pointing where Brisbille has just plunged floundering into the night, he says, "That's what Socialists are,--the conquering people what can't stand up on their legs! I may be a botcher in life, but I'm for peace and order. Good-night, good-night. Is she well, Aunt Josephine? I'm for tranquillity and liberty and order. That's why I've always kept clear of their crowd. A