第 20 页

"How beautiful it is!" exclaimed Tchernoff who was seeing something beyond the shadows. "An entire civilization, loving peace and pleasure, has passed through here."

A memory greatly affected the Russian. Many an afternoon, after lunch, he had met in this very spot a robust man, stocky, with reddish beard and kindly eyes— a man who looked like a giant who had just stopped growing. He was always accompanied by a dog. It was Jaures, his friend Jaures, who before going to the senate was accustomed to taking a walk toward the Arch from his home in Passy.

"He liked to come just where we are now! He loved to look at the avenues, the distant gardens, all of Paris which can be seen from this height; and filled with admiration, he would often say to me, 'This is magnificent— one of the most beautiful perspectives that can be found in the entire world.'... Poor Jaures!"

Through association of ideas, the Russian evoked the image of his compatriot, Michael Bakounine, another revolutionist, the father of anarchy, weeping with emotion at a concert after hearing the symphony with Beethoven chorals directed by a young friend of his, named Richard Wagner. "When our revolution comes," he cried, clasping the hand of the master, "whatever else may perish, this must be saved at any cost!"

Tchernoff roused himself from his reveries to look around him and say with sadness:

"THEY have passed through here!"

Every time that he walked through the Arch, the same vision would spring up in his mind. THEY were thousands of helmets glistening in the sun, thousands of heavy boots lifted with mechanical rigidity at the same time; horns, fifes, drums large and small, clashing against the majestic silence of these stones— the warlike march from Lohengrin sounding in the deserted avenues before the closed houses.

He, who was a foreigner, always felt attracted by the spell exerted by venerable buildings guarding the glory of a bygone day. He did not wish to know who had erected it. As soon as its pride is flattered, mankind tries immediately to solidify it. Then Humanity intervenes with a broader vision that changes the original significance of the work, enlarges it and strips it of its first egotistical import. The Greek statues, models of the highest beauty, had been originally mere images of the temple, donated by the piety of the devotees of those times. Upon evoking Roman grandeur, everybody sees in imagination the enormous Coliseum, circle of butcheries, or the arches erected to the glory of the inept Caesars. The representative works of nations have two significations— the interior or immediate one which their creators gave them, and the exterior or universal interest, the symbolic value which the centuries have given them.

"This Arch," continued Tchernoff, "is French within, with its names of battles and generals open to criticism. On the outside, it is the monument of the people who carried through the greatest revolution for liberty ever known. The glorification of man is there below in the column of the place Vendome. Here there is nothing individual. Its builders erected it to the memory of la Grande Armee and that Grand Army was the people in arms who spread revolution throughout Europe. The artists, great inventors, foresaw the true significance of this work. The warriors of Rude who are chanting the Marseillaise in the group at the left are not professional soldiers, they are armed citizens, marching to work out their sublime and violent mission. Their nudity makes them appear to me like sans-culottes in Grecian helmets.... Here there is more than the glory and egoism of a great nation. All Europe is awake to new life, thanks to these Crusaders of Liberty.... The nations call to mind certain images. If I think of Greece, I see the columns of the Parthenon; Rome, Mistress of the World, is the Coliseum and the Arch of Trajan; and revolutionary France is the Arc de Triomphe."

The Arch was even more, according to the Russian. It represented a great historical retaliation; the nations of the South, called the Latin races, replying, after many centuries, to the invasion which had destroyed the Roman jurisdiction— the Mediterranean peoples spreading themselves as conquerors through the lands of the ancient barbarians. Retreating immediately, they had swept away the past like a tidal wave— the great surf depositing all that it contained. Like the waters of certain rivers which fructify by overflowing, this recession of the human tide had left the soil enriched with new and generous ideas.

"If THEY should return!" added Tchernoff with a look of uneasiness. "If they again should tread these stones!... Before, they were simple-minded folk, stunned by their rapid good-fortune, who passed through here like a farmer through a salon. They were content with money for the pocket and two provinces which should perpetuate the memory of their victory.... But now they will not be the soldiers only who march against Paris. At the tail of the armies come the maddened canteen-keepers, the Herr Professors, carrying at the side the little keg of wine with the powder which crazes the barbarian, the wine of Kultur. And in the vans come also an enormous load of scientific savagery, a new philosophy which glorifies Force as a principle and sanctifier of everything, denies liberty, suppresses the weak and places the entire world under the charge of a minority chosen by God, just because it possesses the surest and most rapid methods of slaughter. Humanity may well tremble for the future if again resounds under this archway the tramp of boots following a march of Wagner or any other Kapellmeister."

They left the Arch, following the avenue Victor Hugo. Tchernoff walking along in dogged silence as though the vision of this imaginary procession had overwhelmed him. Suddenly he continued aloud the course of his reflections.

"And if they should enter, what does it matter?... On that account, the cause of Right will not die. It suffers eclipses, but is born again; it may be ignored and trampled under foot, but it does not, therefore, cease to exist, and all good souls recognize it as the only rule of life. A nation of madmen wishes to place might upon the pedestal that others have raised to Right. Useless endeavor! The eternal hope of mankind will ever be the increasing power of more liberty, more brotherliness, more justice."

The Russian appeared to calm himself with this statement. He and his friends spoke of the spectacle which Paris was presenting in its preparation for war. Tchernoff bemoaned the great suffering produced by the catastrophe, the thousands and thousands of domestic tragedies that were unrolling at that moment. Apparently nothing had changed. In the centre of the city and around the stations, there was unusual agitation, but the rest of the immense city did not appear affected by the great overthrow of its existence. The solitary street was presenting its usual aspect, the breeze was gently moving the leaves. A solemn peace seemed to be spreading itself through space. The houses appeared wrapped in slumber, but behind the closed windows might be surmised the insomnia of the reddened eyes, the sighs from hearts anguished by the threatened danger, the tremulous agility of the hands preparing the war outfit, perhaps the last loving greetings exchanged without pleasure, with kisses ending in sobs.

Tchernoff thought of his neighbors, the husband and wife who occupied the other interior apartment behind the studio. She was no longer playing the piano. The Russian had overheard disputes, the banging of doors locked with violence, and the footsteps of a man in the middle of the night, fleeing from a woman's cries. There had begun to develop on the other side of the wall a regulation drama— a repetition of hundreds of others, all taking place at the same time.

"She is a German," volunteered the Russian. "Our concierge has ferreted out her nationality. He must have gone by this time to join his regiment. Last night I could hardly sleep. I heard the lamentations through the thin wall partition, the steady, desperate weeping of an abandoned child, and the voice of a man who was vainly trying to quiet her!... Ah, what a rain of sorrows is now falling upon the world!"

That same evening, on leaving the house, he had met her by her door. She appeared like another woman, with an old look as though in these agonizing hours she had been suffering for fifteen years. In vain the kindly Tchernoff had tried to cheer her up, urging her to accept quietly her husband's absence so as not to harm the little one who was coming.

"For the unhappy creature is going to be a mother," he said sadly. "She hides her condition with a certain modesty, but from my window, I have often seen her making the dainty layette."

The woman had listened to him as though she did not understand. Words were useless before her desperation. She could only sob as though talking to herself, "I am a German.... He has gone; he has to go away.... Alone!... Alone forever!"

"She is thinking all the time of her nationality which is separating her from her husband; she is thinking of the concentration camp to which they will take her with her compatriots. She is fearful of being abandoned in the enemy's country obliged to defend itself against the attack of her own country.... And all this when she is about to become a mother. What miseries! What agonies!"

The three reached the rue de la Pompe and on entering the house, Tchernoff began to take leave of his companions in order to climb the service stairs; but Desnoyers wished to prolong the conversation. He dreaded being alone with his friend, still chagrined over the evening's events. The conversation with the Russian interested him, so they all went up in the elevator together. Argensola suggested that this would be a good opportunity to uncork one of the many bottles which he was keeping in the kitchen. Tchernoff could go home through the studio door that opened on the stairway.

The great window had its glass doors wide open; the transoms on the patio side were also open; a breeze kept the curtains swaying, moving, too, the old lanterns, moth-eaten flags and other adornments of the romantic studio. They seated themselves around the table, near a window some distance from the light which was illuminating the other end of the big room. They were in the shadow, with their backs to the interior court. Opposite them were tiled roofs and an enormous rectangle of blue shadow, perforated by the sharp-pointed stars. The city lights were coloring the shadowy space with a bloody reflection.

Tchernoff drank two glasses, testifying to the excellence of the liquid by smacking his lips. The three were silent with the wondering and thoughtful silence which the grandeur of the night imposes. Their eyes were glancing from star to star, grouping them in fanciful lines, forming them into triangles or squares of varying irregularity. At times, the twinkling radiance of a heavenly body appeared to broaden the rays of light, almost hypnotizing them.

The Russian, without coming out of his revery, availed himself of another glass. Then he smiled with cruel irony, his bearded face taking on the semblance of a tragic mask peeping between the curtains of the night.

"I wonder what those men up there are thinking!" he muttered. "I wonder if any star knows that Bismarck ever existed!... I wonder if the planets are aware of the divine mission of the German nation!"

And he continued laughing.

Some far-away and uncertain noise disturbed the stillness of the night, slipping through some of the chinks that cut the immense plain of roofs. The three turned their heads so as to hear better.... The sound of voices cut through the thick silence of night— a masculine chorus chanting a hymn, simple, monotonous and solemn. They guessed at what it must be, although they could not hear very well. Various single notes floating with greater intensity on the night wind, enabled Argensola to piece together the short song, ending in a melodious, triumphant yell— a true war song:

C'est l'Alsace et la Lorraine,

C'est l'Alsace qu'il nous faut,

Oh, oh, oh, oh.

A new band of men was going away through the streets below, toward the railway station, the gateway of the war. They must be from the outlying districts, perhaps from the country, and passing through silence-wrapped Paris, they felt like singing of the great national hope, that those who were watching behind the dark facades might feel comforted, knowing that they were not alone.

"Just as it is in the opera," said Julio listening to the last notes of the invisible chorus dying away into the night.

Tchernoff continued drinking, but with a distracted air, his eyes fixed on the red cloud that floated over the roofs.

The two friends conjectured his mental labor from his concentrated look, and the low exclamations which were escaping him like the echoes of an interior monologue. Suddenly he leaped from thought to word without any forewarning, continuing aloud the course of his reasoning.

"And when the sun arises in a few hours, the world will see coursing through its fields the four horsemen, enemies of mankind.... Already their wild steeds are pawing the ground with impatience; already the ill-omened riders have come together and are exchanging the last words before leaping into the saddle."

"What horsemen are these?" asked Argensola.

"Those which go before the Beast."

The two friends thought this reply as unintelligible as the preceding words. Desnoyers again said mentally, "He is drunk," but his curiosity forced him to ask, "What beast is that?"

"That of the Apocalypse."

There was a brief silence, but the Russian's terseness of speech did not last long. He felt the necessity of expressing his enthusiasm for the dreamer on the island rock of Patmos. The poet of great and mystic vision was exerting, across two thousand years, his influence over this mysterious revolutionary, tucked away on the top floor of a house in Paris. John had foreseen it all. His visions, unintelligible to the masses, nevertheless held within them the mystery of great human events.

Tchernoff described the Apocalyptic beast rising from the depths of the sea. He was like a leopard, his feet like those of a bear, his mouth like the snout of a lion. He had seven heads and ten horns. And upon the horns were ten crowns, and upon each of his heads the name of a blasphemy. The evangelist did not say just what these blasphemies were, perhaps they differed according to the epochs, modified every thousand years when the beast made a new apparition. The Russian seemed to be reading those that were flaming on the heads of the monster— blasphemies against humanity, against justice, against all that makes life sweet and bearable. "Might is superior to Right!"... "The weak should not exist."... "Be harsh in order to be great."... And the Beast in all its hideousness was attempting to govern the world and make mankind render him homage!