Aesthetics -- Fiction; French fiction -- Translations into English
"Phew!" he exclaimed, saddened by the assault of these memories. He
rose to dissipate the horrible spell of this vision and, returning to
reality, began to be concerned with the tortoise.
It did not budge at all and he tapped it. The animal was dead.
Doubtless accustomed to a sedentary existence, to a humble life spent
underneath its poor shell, it had been unable to support the dazzling
luxury imposed on it, the rutilant cope with which it had been
covered, the jewels with which its back had been paved, like a pyx.
Chapter 6
With the sharpening of his desire to withdraw from a hated age, he
felt a despotic urge to shun pictures representing humanity striving
in little holes or running to and fro in quest of money.
With his growing indifference to contemporary life he had resolved not
to introduce into his cell any of the ghosts of distastes or regrets,
but had desired to procure subtle and exquisite paintings, steeped in
ancient dreams or antique corruptions, far removed from the manner of
our present day.
For the delight of his spirit and the joy of his eyes, he had desired
a few suggestive creations that cast him into an unknown world,
revealing to him the contours of new conjectures, agitating the
nervous system by the violent deliriums, complicated nightmares,
nonchalant or atrocious chimerae they induced.
Among these were some executed by an artist whose genius allured and
entranced him: Gustave Moreau.
Des Esseintes had acquired his two masterpieces and, at night, used to
sink into revery before one of them--a representation of Salome,
conceived in this fashion:
A throne, resembling the high altar of a cathedral, reared itself
beneath innumerable vaults leaping from heavy Romanesque pillars,
studded with polychromatic bricks, set with mosaics, incrusted with
lapis lazuli and sardonyx, in a palace that, like a basilica, was at
once Mohammedan and Byzantine in design.
In the center of the tabernacle, surmounting an altar approached by
semi-circular steps, sat Herod the Tetrarch, a tiara upon his head,
his legs pressed closely together, his hands resting upon his knees.
His face was the color of yellow parchment; it was furrowed with
wrinkles, ravaged with age. His long beard floated like a white cloud
upon the star-like clusters of jewels constellating the orphrey robe
fitting tightly over his breast.
Around this form, frozen into the immobile, sacerdotal, hieratic pose
of a Hindoo god, burned perfumes wafting aloft clouds of incense which
were perforated, like phosphorescent eyes of beasts, by the fiery rays
of the stones set in the throne. Then the vapor rolled up, diffusing
itself beneath arcades where the blue smoke mingled with the gold
powder of the long sunbeams falling from the domes.
Public-domain text, read in full here on John Shaqi.
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