Entomologists -- France -- Biography; Fabre, Jean-Henri, 1823-1915
He himself, although he was one of the strong, did not care to break any of
the ties that bound him to his origins. Like the Osmia, "which retains a
tenacious memory of its home," the beloved village of his childhood has
never been effaced from his memory, and for a long time the desire to leave
his bones there haunted him. His mind often returned to it; he thought that
there, better than anywhere else, he would find peace; that it would please
him to wander among the rocks, the trees, the stones which he had so loved,
in the old days, and that all these things would recognize him too.
One day, however, when I was begging him to make up his mind on this point-
-it was one of those peaceful evenings which are troubled under the plane-
trees only by the tinkling of the fountain--he confided to me that his
beloved Sérignan had at last, in his secret preferences, obliterated the
old longing. As he advanced in life, in fact, although he never forgot his
rude natal countryside, he felt that new links were daily binding him more
closely to those heaths and mountains on which his heart had been so often
thrilled with the intense joy of discovery, and that it was indeed in this
soil, to him so full of delight, amid its beautiful hymenoptera and
scarabaei, that he would wish to be buried.
Fabre is by no means the misanthrope that some have chosen to think him. He
delights in the society of women, and knows how to welcome them gracefully;
and more than any one he is sensitive to the pleasant and stimulating
impressions produced by the conversation of cultivated people.
He is no less fond of the arts, provided he finds in them a sincere
interpretation of life. This is why the theatre, with its false values, its
tinsel and affectation, has to him seemed a gross deformation of the
reality, ever since the day when at Ajaccio he attended a performance of
"Norma," in which the moon was represented by a round transparent disc, lit
from behind by a lantern hanging at the end of a string, whose oscillation
revealed by turns first the luminary and then the transparency. This was
enough to disgust him for ever with the theatre and the opera, whose
motionless choruses, contrasting with the sometimes frantic movement of the
music, left him with a memory of an insane and illogical performance.
Public-domain text, read in full here on John Shaqi.
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