The Inferno - Henri Barbusse (best books for 7th graders txt) 📗

/> "That was not true. It was he who suffered from the disease of tranquillity and indifference, a paralysis, a grey malady, and his blindness was an infirmity, and his peace was that of a dog who lives for the sake of living, of a beast with a human face.

"What was I to do? Pray? No. That eternal dialogue in which you are always alone is crushing. Throw yourself into some occupation? Work? No use. Doesn't work always have to be done over again? Have children and bring them up? That makes you feel both that you are done and finished and that you are beginning over again to no purpose. However, who knows?"

It was the first time that she softened.

"I have not been given the chance to practise the devotion, the submission, the humiliation of a mother. Perhaps that would have guided me in life. I was denied a little child."

For a moment, lowering her eyes, letting her hands fall, yielding to the maternal impulse, she only thought of loving and regretting the child that had not been vouchsafed to her--without perceiving that if she considered it her only possible salvation, it was because she did not have it.

"Charity? They say that it makes us forget everything. Oh, yes, to go distributing alms on the snowy streets, in a great fur cloak," she murmured and made a tired gesture, while the lover and I felt the shiver of the cold rainy evening and of all the winters past and yet to come.

"All that is diversion, deception. It does not alter the truth a particle. We shall die, we are going to die."

She stopped crying, dried her eyes and assumed a tone so positive and calm that it gave the impression that she was leaving the subject.

"I want to ask you a question. Answer me frankly. Have you ever dared, dear, even in the depths of your heart, to set a date, a date relatively far off, but exact and absolute, with four figures, and to say, 'No matter how old I shall live to be, on that day I shall be dead--while everything else will go on, and little by little my empty place will be destroyed or filled again?'"

The directness of her question disturbed him. But it seemed to me that he tried most to avoid giving her a reply that would heighten her obsession.

And all at once, she remembered something he had once said to her, and cleverly reminded him of it so as to close his mouth in advance and torture herself still more.

"Do you remember? One evening, by lamplight. I was looking through a book. You were watching me. You came to me, you knelt down and put your arms around my waist, and laid your head in my lap. There were tears in your eyes. I can still hear you. 'I am thinking,' you said, 'that this moment will never come again. I am thinking that you are going to change, to die, and go away. I am thinking so truly, so hotly, how precious these moments are, how precious you are, you who will never again be just what you are now, and I adore your ineffable presence as it is now.' You looked at my hand, you found it small and white, and you said it was an extraordinary treasure, which would disappear. Then you repeated, 'I adore you,' in a voice which trembled so, that I have never heard anything truer or more beautiful, for you were right as a god is right.

"Alas!" he said.

He saw the tears in her eyes. Then he bowed his head. When he lifted it again, I had a vague intuition that he would know what to answer, but had not yet formulated how to say it.

"Poor creatures, a brief existence, a few stray thoughts in the depths of a room--that is what we are," she said, lifting her head and looking at him, hoping for an impossible contradiction, as a child cries for a star.

He murmured:

"Who knows what we are?"

. . . . .


She interrupted him with a gesture of infinite weariness.

"I know what you are going to say. You are going to talk to me about the beauty of suffering. I know your noble ideas. I love them, my love, your beautiful theories, but I do not believe in them. I would believe them if they consoled me and effaced death."

With a manifest effort, as uncertain of himself as she was of herself, feeling his way, he replied:

"They would efface it, perhaps, if you believed in them."

She turned toward him and took one of his hands in both of hers. She questioned him with inexorable patience, then she slipped to her knees before him, like a lifeless body, humbled herself in the dust, wrecked in the depths of despair, and implored him:

"Oh, answer me! I should be so happy if you could answer me. I feel as though you really could!"

He bent over her, as if on the edge of an abyss of questioning: "Do you know what we are?" he murmured. "Everything we say, everything we think, everything we believe, is fictitious. We know nothing. Nothing is sure or solid."

"You are wrong," she cried. "There /is/ something absolute, our sorrow, our need, our misery. We can see and touch it. Deny everything else, but our beggary, who can deny that?"

"You are right," he said, "it is the only absolute thing in the world."

. . . . .


"Then, /we/ are the only absolute thing in the world," he deduced.

He caught at this. He had found a fulcrum. "We--" he said. He had found the cry against death, he repeated it, and tried again. "We--"

It was sublime to see him beginning to resist.

"It is we who endure forever."

"Endure forever! On the contrary, it is we who pass away."

"We see things pass, but we endure."

She shrugged her shoulders with an air of denial. There almost was hatred in her voice as she said:

"Yes--no--perhaps. After all, what difference does it make to me? That does not console me."

"Who knows--maybe we need sadness and shadow, to make joy and light."

"Light would exist without shadow," she insisted.

"No," he said gently.

"That does not console me," she said again.

. . . . .


Then he remembered that he had already thought out all these things.

"Listen," he said, in a voice tremulous and rather solemn as if he were making a confession. "I once imagined two beings who were at the end of their life, and were recalling all they had suffered."

"A poem!" she said, discouraged.

"Yes," he said, "one of those which might be so beautiful."

It was remarkable to see how animated he became. For the first time he appeared sincere--when abandoning the living example of their own destiny for the fiction of his imagination. In referring to his poem, he had trembled. You felt he was becoming his genuine self and that he had faith. She raised her head to listen, moved by her tenacious need of hearing something, though she had no confidence in it.

"The man and the woman are believers," he began. "They are at the end of their life, and they are happy to die for the reasons that one is sad to live. They are a kind of Adam and Eve who dream of the paradise to which they are going to return. The paradise of purity. Paradise is light. Life on earth is obscurity. That is the motif of the song I have sketched, the light that they desire, the shadow that they are."

"Like us," said Amy.

He told of the life of the man and the woman of his poem. Amy listened to him, and accepted what he was saying. Once she put her hands on her heart and said, "Poor people!" Then she got a little excited. She felt he was going too far. She did not wish so much darkness, maybe because she was tired or because the picture when painted by some one else seemed exaggerated.

Dream and reality here coincided. The woman of the poem also protested at this point.

I was carried away by the poet's voice, as he recited, swaying slightly, in the spell of the harmony of his own dream:

"At the close of a life of pain and suffering the woman still looked ahead with the curiosity she had when she entered life. Eve ended as she had begun. All her subtle eager woman's soul climbed toward the secret as if it were a kind of kiss on the lips of her life. She wanted to be happy."

Amy was now more interested in her companion's words. The curse of the lovers in the poem, sister to the curse she felt upon herself, gave her confidence. But her personality seemed to be shrinking. A few moments before she had dominated everything. Now she was listening, waiting, absorbed.

"The lover reproached the woman for contradicting herself in claiming earthly and celestial happiness at the same time. She answered him with profundity, that the contradiction lay not in herself, but in the things she wanted.

"The lover then seized another healing wand and with desperate eagerness, he explained, he shouted, 'Divine happiness has not the same form as human happiness. Divine happiness is outside of ourselves.'

"The woman rose, trembling.

"'That is not true! That is not true!' she exclaimed. 'No, my happiness is not outside of me, seeing it is /my/ happiness. The universe is God's universe, but I am the god of my own happiness. What I want,' she added, with perfect simplicity, 'is to be happy, I, just as I am, and with all my suffering.'"

Amy started. The woman in the poem had put her problem in a clearer and deeper manner, and Amy was more like that woman than herself.

"'I, with all my suffering,' the man repeated.

"Suffering--important word! It leads us to the heart of reality. Human suffering is a positive thing, which requires a positive answer, and sad as it is, the word is beautiful, because of the absolute truth it contains. 'I, with all my suffering!' It is an error to believe that we can be happy in perfect calm and clearness, as abstract as a formula. We are made too much out of shadow and some form of suffering. If everything that hurts us were to be removed, what would remain?

"And the woman said, 'My God, I do not wish for heaven!'"

"Well, then," said Amy, trembling, "it follows that we can be miserable in paradise."

"Paradise is life," said the poet.

Amy was silent and remained with her head lifted, comprehending at last that the whole poem was simply a reply to her question and that he had revived in her soul a loftier and a juster thought.