Autobiographical fiction; France -- Social life and customs -- Fiction
Only there are also suppressions of sound which are not temporary. The
man who has grown completely deaf cannot even heat a pan of milk by his
bedside, but he must keep an eye open to watch, on the tilted lid, for
the white, arctic reflexion, like that of a coming snow-storm, which is
the warning sign which he is wise to obey, by cutting off (as Our Lord
bade the waves be still) the electric current; for already the swelling,
jerkily climbing egg of boiling milk-film is reaching its climax in a
series of sidelong movements, has filled and set bellying the drooping
sails with which the cream has skimmed its surface, sends in a sudden
storm a scud of pearly substance flying overboard—sails which the
cutting off of the current, if the electric storm is hushed in time,
will fold back upon themselves and let fall with the ebbing tide,
changed now to magnolia petals. But if the sick man should not be quick
enough in taking the necessary precautions, presently, when his drowned
books and watch are seen barely emerging from the milky tide, he will be
obliged to call the old nurse who, though he be himself an eminent
statesman or a famous writer, will tell him that he has no more sense
than a child of five. At other times in the magic chamber, between us
and the closed door, a person who was not there a moment ago makes his
appearance; it is a visitor whom we did not hear coming in, and who
merely gesticulates, like a figure in one of those little puppet
theatres, so restful for those who have taken a dislike to the spoken
tongue. And for this totally deaf man, since the loss of a sense adds as
much beauty to the world as its acquisition, it is with ecstasy that he
walks now upon an earth grown almost an Eden, in which sound has not yet
been created. The highest waterfalls unfold for his eyes alone their
ribbons of crystal, stiller than the glassy sea, like the cascades of
Paradise. As sound was for him before his deafness the perceptible form
in which the cause of a movement was draped, objects moved without sound
seemed to be being moved also without cause; deprived of all resonant
quality, they shew a spontaneous activity, seem to be alive. They move,
halt, become alight of their own accord. Of their own accord they vanish
in the air like the winged monsters of prehistoric days. In the solitary
and unneighboured home of the deaf man the service which, before his
infirmity was complete, was already shewing an increased discretion, was
being carried on in silence, is now assured him with a sort of
surreptitious deftness, by mutes, as at the court of a fairy-tale king.
And, as upon the stage, the building on which the deaf man looks from
his window—be it barracks, church, or town hall—is only so much scenery.
If one day it should fall to the ground, it may emit a cloud of dust and
leave visible ruins; but, less material even than a palace on the stage,
though it has not the same exiguity, it will subside in the magic
Public-domain text, read in full here on John Shaqi.
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