True, in his incomparable Iliad, the Homer of the Insects had often described creatures that hunt one another, kill one another, devour one another with indescribable ardour and ferocity, and he knew that he had only written a chapter of that “struggle for life” which is to be found on every step of the biological ladder, with the same disregard of weakness and suffering. But he would fain have seen man assert his superiority over the animals by repressing these instincts, which come from below, by the free flight of the aspirations vouchsafed from above, by the progressive subordination of the brute power of force to the spiritual power of justice and love. While these distressing problems were filling his mind, and while, in protest against happenings so utterly contrary to his ideas, he would thump his fist upon his famous little table, a woman was moving gently to and fro, playing the parts, alternately, with the same calm countenance, of Martha and of Mary; and when he asked her her secret, she showed him her crucifix and read the Gospel to him, as though to wring from his heart the cry that was uttered by the poet of La Bonne Souffrance: [207] “Vingt siècles de bonté sont sortis de ces mystères, Je crois en toi, Jésus....” In moments of affliction, Fabre is even closer to the Truth than on the heights of knowledge and fame. For we are never nearer the God of the Gospel than when we most feel the want of Him. IV More than ninety years of life and almost as many of labour, nearly five years of overwhelming fame, and almost as many of unspeakable suffering: must not a man be “built of heart of oak,” as they say in Aveyron, to survive so many trials? Like the oaks of his native parts, the patriarch of Sérignan continued to brave the assaults of time, and even when he began to feel that his life was declining, it seemed as though it was only withdrawing itself from its long and manifold ramifications in the external world to take refuge, as in an inexpugnable asylum, in the depths and roots of his being. He was one of those of whom people say with us that they “cannot die.” Fabre’s work is immortal—that is agreed. But the artisan? Let us resume our comparison. Like the oak that loses its boughs, one after the other, he saw falling one by one the several factors of his life. His life was the harmas, that paradise of insects, that laboratory after his own heart, where he could make his observations under the blue sky, to the song of the Cicadæ, amid the thyme, lavender, and rosemary. Now he was seen there no longer; hardly were the traces of his footsteps yet visible through the untrimmed boughs that crossed the paths and the grass that was invading them.