The Alkahest

The marriage took place at the beginning of the year 1795.  Husband and wife came to Douai that the first days of their union might be spent in the patriarchal house of the Claes,—­the treasures of which were increased by those of Mademoiselle de Temninck, who brought with her several fine pictures of Murillo and Velasquez, the diamonds of her mother, and the magnificent wedding-gifts, made to her by her brother, the Duke of Casa-Real.

Few women were ever happier than Madame Claes.  Her happiness lasted for fifteen years without a cloud, diffusing itself like a vivid light into every nook and detail of her life.  Most men have inequalities of character which produce discord, and deprive their households of the harmony which is the ideal of a home; the majority are blemished with some littleness or meanness, and meanness of any kind begets bickering.  One man is honorable and diligent, but hard and crabbed; another kindly, but obstinate; this one loves his wife, yet his will is arbitrary and uncertain; that other, preoccupied by ambition, pays off his affections as he would a debt, bestows the luxuries of wealth but deprives the daily life of happiness,—­in short, the average man of social life is essentially incomplete, without being signally to blame.  Men of talent are as variable as barometers; genius alone is intrinsically good.

For this reason unalloyed happiness is found at the two extremes of the moral scale.  The good-natured fool and the man of genius alone are capable—­the one through weakness, the other by strength—­of that equanimity of temper, that unvarying gentleness, which soften the asperities of daily life.  In the one, it is indifference or stolidity; in the other, indulgence and a portion of the divine thought of which he is the interpreter, and which needs to be consistent alike in principle and application.  Both natures are equally simple; but in one there is vacancy, in the other depth.  This is why clever women are disposed to take dull men as the small change for great ones.

Balthazar Claes carried his greatness into the lesser things of life.  He delighted in considering conjugal love as a magnificent work; and like all men of lofty aims who can bear nothing imperfect, he wished to develop all its beauties.  His powers of mind enlivened the calm of happiness, his noble nature marked his attentions with the charm of grace.  Though he shared the philosophical tenets of the eighteenth century, he installed a chaplain in his home until 1801 (in spite of the risk he ran from the revolutionary decrees), so that he might not thwart the Spanish fanaticism which his wife had sucked in with her mother’s milk:  later, when public worship was restored in France, he accompanied her to mass every Sunday.  His passion never ceased to be that of a lover.  The protecting power, which women like so much, was never exercised by this husband, lest to that wife it might seem pity.  He treated her with exquisite flattery as an equal, and sometimes mutinied against her, as men will, as though to brave the supremacy of a pretty woman.  His lips wore a smile of happiness, his speech was ever tender; he loved his Josephine for herself and for himself, with an ardor that crowned with perpetual praise the qualities and the loveliness of a wife.

Fidelity, often the result of social principle, religious duty, or self-interest on the part of a husband, was in this case involuntary, and not without the sweet flatteries of the spring-time of love.  Duty was the only marriage obligation unknown to these lovers, whose love was equal; for Balthazar Claes found the complete and lasting realization of his hopes in Mademoiselle de Temninck; his heart was satisfied but not wearied, the man within him was ever happy.

Not only did the daughter of Casa-Real derive from her Spanish blood the intuition of that science which varies pleasure and makes it infinite, but she possessed the spirit of unbounded self-devotion, which is the genius of her sex as grace is that of beauty.  Her love was a blind fanaticism which, at a nod, would have sent her joyously to her death.  Balthazar’s own delicacy had exalted the generous emotions of his wife, and inspired her with an imperious need of giving more than she received.  This mutual exchange of happiness which each lavished upon the other, put the mainspring of her life visibly outside of her personality, and filled her words, her looks, her actions, with an ever-growing love.  Gratitude fertilized and varied the life of each heart; and the certainty of being all in all to one another excluded the paltry things of existence, while it magnified the smallest accessories.

The deformed woman whom her husband thinks straight, the lame woman whom he would not have otherwise, the old woman who seems ever young —­are they not the happiest creatures of the feminine world?  Can human passion go beyond it?  The glory of a woman is to be adored for a defect.  To forget that a lame woman does not walk straight may be the glamour of a moment, but to love her because she is lame is the deification of her defects.  In the gospel of womanhood it is written:  “Blessed are the imperfect, for theirs is the kingdom of Love.”  If this be so, surely beauty is a misfortune; that fugitive flower counts for too much in the feeling that a woman inspires; often she is loved for her beauty as another is married for her money.  But the love inspired or bestowed by a woman disinherited of the frail advantages pursued by the sons of Adam, is true love, the mysterious passion, the ardent embrace of souls, a sentiment for which the day of disenchantment never comes.  That woman has charms unknown to the world, from whose jurisdiction she withdraws herself:  she is beautiful with a meaning; her glory lies in making her imperfections forgotten, and thus she constantly succeeds in doing so.

The celebrated attachments of history were nearly all inspired by women in whom the vulgar mind would have found defects,—­Cleopatra, Jeanne de Naples, Diane de Poitiers, Mademoiselle de la Valliere, Madame de Pompadour; in fact, the majority of the women whom love has rendered famous were not without infirmities and imperfections, while the greater number of those whose beauty is cited as perfect came to some tragic end of love.

This apparent singularity must have a cause.  It may be that man lives more by sentiment than by sense; perhaps the physical charm of beauty is limited, while the moral charm of a woman without beauty is infinite.  Is not this the moral of the fable on which the Arabian Nights are based?  An ugly wife of Henry VIII. might have defied the axe, and subdued to herself the inconstancy of her master.

By a strange chance, not inexplicable, however, in a girl of Spanish origin, Madame Claes was uneducated.  She knew how to read and write, but up to the age of twenty, at which time her parents withdrew her from a convent, she had read none but ascetic books.  On her first entrance into the world, she was eager for pleasure and learned only the flimsy art of dress; she was, moreover, so deeply conscious of her ignorance that she dared not join in conversation; for which reason she was supposed to have little mind.  Yet, the mystical education of a convent had one good result; it left her feelings in full force and her natural powers of mind uninjured.  Stupid and plain as an heiress in the eyes of the world, she became intellectual and beautiful to her husband.  During the first years of their married life, Balthazar endeavored to give her at least the knowledge that she needed to appear to advantage in good society:  but he was doubtless too late, she had no memory but that of the heart.  Josephine never forgot anything that Claes told her relating to themselves; she remembered the most trifling circumstances of their happy life; but of her evening studies nothing remained to her on the morrow.

This ignorance might have caused much discord between husband and wife, but Madame Claes’s understanding of the passion of love was so simple and ingenuous, she loved her husband so religiously, so sacredly, and the thought of preserving her happiness made her so adroit, that she managed always to seem to understand him, and it was seldom indeed that her ignorance was evident.  Moreover, when two persons love one another so well that each day seems for them the beginning of their passion, phenomena arise out of this teeming happiness which change all the conditions of life.  It resembles childhood, careless of all that is not laughter, joy, and merriment.  Then, when life is in full activity, when its hearths glow, man lets the fire burn without thought or discussion, without considering either the means or the end.

No daughter of Eve ever more truly understood the calling of a wife than Madame Claes.  She had all the submission of a Flemish woman, but her Spanish pride gave it a higher flavor.  Her bearing was imposing; she knew how to command respect by a look which expressed her sense of birth and dignity:  but she trembled before Claes; she held him so high, so near to God, carrying to him every act of her life, every thought of her heart, that her love was not without a certain respectful fear which made it keener.  She proudly assumed all the habits of a Flemish bourgeoisie, and put her self-love into making the home life liberally happy,—­preserving every detail of the house in scrupulous cleanliness, possessing nothing that did not serve the purposes of true comfort, supplying her table with the choicest food, and putting everything within those walls into harmony with the life of her heart.

The pair had two sons and two daughters.  The eldest, Marguerite, was born in 1796.  The last child was a boy, now three years old, named Jean-Balthazar.  The maternal sentiment in Madame Claes was almost equal to her love for her husband; and there rose in her soul, especially during the last days of her life, a terrible struggle between those nearly balanced feelings, of which the one became, as it were, an enemy of the other.  The tears and the terror that marked her face at the moment when this tale of a domestic drama then lowering over the quiet house begins, were caused by the fear of having sacrificed her children to her husband.

In 1805, Madame Claes’s brother died without children.  The Spanish law does not allow a sister to succeed to territorial possessions, which follow the title; but the duke had left her in his will about sixty thousand ducats, and this sum the heirs of the collateral branch did not seek to retain.  Though the feeling which united her to Balthazar Claes was such that no thought of personal interest could ever sully it, Josephine felt a certain pleasure in possessing a fortune equal to that of her husband, and was happy in giving something to one who had so nobly given everything to her.  Thus, a mere chance turned a marriage which worldly minds had declared foolish, into an excellent alliance, seen from the standpoint of material interests.  The use to which this sum of money should be put became, however, somewhat difficult to determine.

The House of Claes was so richly supplied with furniture, pictures, and objects of art of priceless value, that it was difficult to add anything worthy of what was already there.  The tastes of the family through long periods of time had accumulated these treasures.  One generation followed the quest of noble pictures, leaving behind it the necessity of completing a collection still unfinished; and thus the taste became hereditary in the family.  The hundred pictures which adorned the gallery leading from the family building to the reception-rooms on the first floor of the front house, as well as some fifty others placed about the salons, were the product of the patient researches of three centuries.  Among them were choice specimens of Rubens, Ruysdael, Vandyke, Terburg, Gerard Dow, Teniers, Mieris, Paul Potter, Wouvermans, Rembrandt, Hobbema, Cranach, and Holbein.  French and Italian pictures were in a minority, but all were authentic and masterly.

Another generation had fancied Chinese and Japanese porcelains:  this Claes was eager after rare furniture, that one for silver-ware; in fact, each and all had their mania, their passion,—­a trait which belongs in a striking degree to the Flemish character.  The father of Balthazar, a last relic of the once famous Dutch society, left behind him the finest known collection of tulips.

Besides these hereditary riches, which represented an enormous capital, and were the choice ornament of the venerable house,—­a house that was simple as a shell outside but, like a shell, adorned within by pearls of price and glowing with rich color,—­Balthazar Claes possessed a country-house on the plain of Orchies, not far from Douai.  Instead of basing his expenses, as Frenchmen do, upon his revenues, he followed the old Dutch custom of spending only a fourth of his income.  Twelve hundred ducats a year put his costs of living at a level with those of the richest men of the place.  The promulgation of the Civil Code proved the wisdom of this course.  Compelling, as it did, the equal division of property, the Title of Succession would some day leave each child with limited means, and disperse the treasures of the Claes collection.  Balthazar, therefore, in concert with Madame Claes, invested his wife’s property so as to secure to each child a fortune eventually equal to his own.  The house of Claes still maintained its moderate scale of living, and bought woodlands somewhat the worse for wars that had laid waste the country, but which in ten years’ time, if well-preserved, would return an enormous value.

The upper ranks of society in Douai, which Monsieur Claes frequented, appreciated so justly the noble character and qualities of his wife that, by tacit consent she was released from those social duties to which the provinces cling so tenaciously.  During the winter season, when she lived in town, she seldom went into society; society came to her.  She received every Wednesday, and gave three grand dinners every month.  Her friends felt that she was more at ease in her own house; where, indeed, her passion for her husband and the care she bestowed on the education of her children tended to keep her.

Such had been, up to the year 1809, the general course of this household, which had nothing in common with the ordinary run of conventional ideas, though the outward life of these two persons, secretly full of love and joy, was like that of other people.  Balthazar Claes’s passion for his wife, which she had known how to perpetuate, seemed, to use his own expression, to spend its inborn vigor and fidelity on the cultivation of happiness, which was far better than the cultivation of tulips (though to that he had always had a leaning), and dispensed him from the duty of following a mania like his ancestors.

At the close of this year, the mind and the manners of Balthazar Claes underwent a fatal change,—­a change which began so gradually that at first Madame Claes did not think it necessary to inquire the cause.  One night her husband went to bed with a mind so preoccupied that she felt it incumbent on her to respect his mood.  Her womanly delicacy and her submissive habits always led her to wait for Balthazar’s confidence; which, indeed, was assured to her by so constant an affection that she had never had the slightest opening for jealousy.  Though certain of obtaining an answer whenever she should make the inquiry, she still retained enough of the earlier impressions of her life to dread a refusal.  Besides, the moral malady of her husband had its phases, and only came by slow degrees to the intolerable point at which it destroyed the happiness of the family.

However occupied Balthazar Claes might be, he continued for several months cheerful, affectionate, and ready to talk; the change in his character showed itself only by frequent periods of absent-mindedness.  Madame Claes long hoped to hear from her husband himself the nature of the secret employment in which he was engaged; perhaps, she thought, he would reveal it when it developed some useful result; many men are led by pride to conceal the nature of their efforts, and only make them known at the moment of success.  When the day of triumph came, surely domestic happiness would return, more vivid than ever when Balthazar became aware of this chasm in the life of love, which his heart would surely disavow.  Josephine knew her husband well enough to be certain that he would never forgive himself for having made his Pepita less than happy during several months.

She kept silence therefore, and felt a sort of joy in thus suffering by him for him:  her passion had a tinge of that Spanish piety which allows no separation between religion and love, and believes in no sentiment without suffering.  She waited for the return of her husband’s affection, saying daily to herself, “To-morrow it may come,” —­treating her happiness as though it were an absent friend.

During this stage of her secret distress, she conceived her last child.  Horrible crisis, which revealed a future of anguish!  In the midst of her husband’s abstractions love showed itself on this occasion an abstraction even greater than the rest.  Her woman’s pride, hurt for the first time, made her sound the depths of the unknown abyss which separated her from the Claes of earlier days.  From that time Balthazar’s condition grew rapidly worse.  The man formerly so wrapped up in his domestic happiness, who played for hours with his children on the parlor carpet or round the garden paths, who seemed able to exist only in the light of his Pepita’s dark eyes, did not even perceive her pregnancy, seldom shared the family life, and even forgot his own.

The longer Madame Claes postponed inquiring into the cause of his preoccupation the less she dared to do so.  At the very idea, her blood ran cold and her voice grew faint.  At last the thought occurred to her that she had ceased to please her husband, and then indeed she was seriously alarmed.  That fear now filled her mind, drove her to despair, then to feverish excitement, and became the text of many an hour of melancholy reverie.  She defended Balthazar at her own expense, calling herself old and ugly; then she imagined a generous though humiliating consideration for her in this secret occupation by which he secured to her a negative fidelity; and she resolved to give him back his independence by allowing one of those unspoken divorces which make the happiness of many a marriage.

Before bidding farewell to conjugal life, Madame Claes made some attempt to read her husband’s heart, and found it closed.  Little by little, she saw him become indifferent to all that he had formerly loved; he neglected his tulips, he cared no longer for his children.  There could be no doubt that he was given over to some passion that was not of the heart, but which, to a woman’s mind, is not less withering.  His love was dormant, not lost:  this might be a consolation, but the misfortune remained the same.

The continuance of such a state of things is explained by one word, —­hope, the secret of all conjugal situations.  It so happened that whenever the poor woman reached a depth of despair which gave her courage to question her husband, she met with a few brief moments of happiness when she was able to feel that if Balthazar was indeed in the clutch of some devilish power, he was permitted, sometimes at least, to return to himself.  At such moments, when her heaven brightened, she was too eager to enjoy its happiness to trouble him with importunate questions:  later, when she endeavored to speak to him, he would suddenly escape, leave her abruptly, or drop into the gulf of meditation from which no word of hers could drag him.

Before long the reaction of the moral upon the physical condition began its ravages,—­at first imperceptibly, except to the eyes of a loving woman following the secret thought of a husband through all its manifestations.  Often she could scarcely restrain her tears when she saw him, after dinner, sink into an armchair by the corner of the fireplace, and remain there, gloomy and abstracted.  She noted with terror the slow changes which deteriorated that face, once, to her eyes, sublime through love:  the life of the soul was retreating from it; the structure remained, but the spirit was gone.  Sometimes the eyes were glassy, and seemed as if they had turned their gaze and were looking inward.  When the children had gone to bed, and the silence and solitude oppressed her, Pepita would say, “My friend, are you ill?” and Balthazar would make no answer; or if he answered, he would come to himself with a quiver, like a man snatched suddenly from sleep, and utter a “No” so harsh and grating that it fell like a stone on the palpitating heart of his wife.

Though she tried to hide this strange state of things from her friends, Madame Claes was obliged sometimes to allude to it.  The social world of Douai, in accordance with the custom of provincial towns, had made Balthazar’s aberrations a topic of conversation, and many persons were aware of certain details that were still unknown to Madame Claes.  Disregarding the reticence which politeness demanded, a few friends expressed to her so much anxiety on the subject that she found herself compelled to defend her husband’s peculiarities.

“Monsieur Claes,” she said, “has undertaken a work which wholly absorbs him; its success will eventually redound not only to the honor of the family but to that of his country.”

This mysterious explanation was too flattering to the ambition of a town whose local patriotism and desire for glory exceed those of other places, not to be readily accepted, and it produced on all minds a reaction in favor of Balthazar.

The supposition of his wife was, to a certain extent, well-founded.  Several artificers of various trades had long been at work in the garret of the front house, where Balthazar went early every morning.  After remaining, at first, for several hours, an absence to which his wife and household grew gradually accustomed, he ended by being there all day.  But—­unexpected shock!—­Madame Claes learned through the humiliating medium of some women friends, who showed surprise at her ignorance, that her husband constantly imported instruments of physical science, valuable materials, books, machinery, etc., from Paris, and was on the highroad to ruin in search of the Philosopher’s Stone.  She ought, so her kind friends added, to think of her children, and her own future; it was criminal not to use her influence to draw Monsieur Claes from the fatal path on which he had entered.

Though Madame Claes, with the tone and manner of a great lady, silenced these absurd speeches, she was inwardly terrified in spite of her apparent confidence, and she resolved to break through her present system of silence and resignation.  She brought about one of those little scenes in which husband and wife are on an equal footing; less timid at such a moment, she dared to ask Balthazar the reason for his change, the motive of his constant seclusion.  The Flemish husband frowned, and replied:—­

“My dear, you could not understand it.”

Soon after, however, Josephine insisted on being told the secret, gently complaining that she was not allowed to share all the thoughts of one whose life she shared.

“Very well, since it interests you so much,” said Balthazar, taking his wife upon his knee and caressing her black hair, “I will tell you that I have returned to the study of chemistry, and I am the happiest man on earth.”