The Double Garden. Maurice Maeterlinck

of life and trusting and wonder-struck, as though he had been the first of his race that came to inaugurate the earth and as though we were still in the first days of the world's existence, I envied the gladness of his certainty, compared it with the destiny of man, still plunging on every side into darkness, and said to myself that the dog who meets with a good master is the happier of the two.

      THE TEMPLE OF CHANCE

THE TEMPLE OF CHANCE

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I

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      I sacrificed—for it is a sacrifice to forsake the incomparable play of the stars and moon on the divine Mediterranean—I sacrificed a few evenings of my stay in the land of the sun to the consulting of the most mystic god of this world of ours in the busiest, the most gorgeous and the most individual of his temples.

      This temple stands down there, at Monte Carlo, on a rock bathed in the dazzling light of the sea and sky. Enchanted gardens, where blossom in January all the flowers of spring, summer and autumn, sweet-scented thickets that borrow nothing from the hostile seasons but their perfume and their smiles lie before its porch. The orange, most lovable of all trees, the palm, the lemon-tree, the mimosa wreathe it with gaiety. The crowds approach it by royal stairways. But, mark you, the building is not worthy of the admirable site which it commands, of the delicious hills, the azure and emerald gulf, the happy meadows that surround it. Nor is it worthy either of the god whom it shelters or of the idea which it represents. It is insipidly emphatic and hideously blatant. It suggests the low insolence, the overweening conceit of the flunkey who has grown rich but remains obsequious. Examination shows it to be solidly built and very large; nevertheless, it wears the mean and sadly pretentious air of the ephemeral palaces of our great exhibitions. The august father of Destiny has been housed in a sort of meringue covered with preserved fruits and sugar castles. Perhaps the residence was purposely made ridiculous. The builders may have feared lest they should warn or alarm the crowd. They probably wished to make it believe that the kindliest, the most frivolous, the most harmlessly capricious, the least serious of the gods awaited his worshippers on a throne of cakes inside this confectioner's master-piece. Ah, no; a mysterious and grave divinity reigns here, a wise and sovereign force, harmonious and sure. He should have been throned in a bare marble palace, severe, simple and colossal, high and vast, cold and spiritual, rectangular and rigid, positive and overwhelming.

II

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      The interior corresponds with the exterior. The rooms are spacious, but decorated with hackneyed magnificence. The acolytes of Chance, the bored, indifferent, monotonous croupiers, look like shop-assistants in their Sunday clothes. They are not the high-priests, but the office-clerks of Hazard. The rites and implements of the cult are vulgar and commonplace: a few tables, some chairs; here, a sort of bowl or cylinder that turns in the centre of each table, with a tiny ivory ball that rolls in the opposite direction; there, a few packs of cards; and that is all. It needs no more to evoke the immeasurable power that holds the stars in suspense.

III

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      Around the tables crowd the faithful. Each of them carries within himself hopes, belief, different and invisible tragedies and comedies. This, I think, is the spot in which more nervous force and more human passions are accumulated and absolutely squandered than in any other in the world. This is the ill-omened spot where the peerless and, perhaps, divine substance of substances, which, in every other place, works pregnant miracles, prodigies of strength, of beauty and of love, this is the fatal spot where the flower of the soul, the most precious fluid on the planet, leaks away into nothingness! … No more criminal waste can be conceived. This unprofitable force, which knows neither whither to go nor what work to do, which finds no door nor window, no direct object nor manner of transmission, hovers over the table like a mortal shadow, falls back upon itself and creates a particular atmosphere, a sort of sweating silence which somehow suggests the fever of true silence. In this unwholesome stillness, the voice of Fate's little book-keeper snuffles out the sacred formula:

      "Faites vos jeux, messieurs, faites vos jeux!"

      That is to say, make to the hidden god the sacrifice which he demands before he shows himself. Then, somewhere from the crowd, a hand bright with certainty places imperiously the fruit of a year's work on numbers that cannot fail. Other adorers, more cunning, more circumspect, less confident, compound with luck, distribute their chances, compute illusive probabilities and, having studied the mood and peculiarities of the genius of the table, lay complex and knowing traps for it. Others, again, hand over a considerable portion of their happiness or their life, at random, to the caprice of numbers.

      But now the second formula resounds:

      "Rien ne va plus!"

      That is to say, the god is about to speak! At this moment, an eye that could pierce the easy veil of appearances would distinctly see scattered on the plain green cloth (if not actually, then at least potentially; for a single stake is rare, and he who plays of his superfluity to-day will risk his all to-morrow) a corn-field ripening in the sun a thousand miles away; or, again, in other squares, a meadow, a wood, a moonlit country-house, a shop in some little market-town, a staff of book-keepers and accountants bending over ledgers in their gloomy offices, peasants labouring in the rain, hundreds of work-girls slaving from morn to night in deadly factories, miners in the mines, sailors on their ship; the jewels of debauchery, love or glory; a prison, a dockyard; joy, misery, injustice, cruelty, avarice; crimes, privations, tears. All this lies there, very peacefully, in those little heaps of smiling gold, in those flimsy scraps of paper which ordain disasters which even a life-time would be powerless ever to efface. The slightest timid and hesitating movements of these yellow counters and blue notes will rebound and swell out in the distance, in the real world, in the streets, in the plains, in the trees, in men's blood and in their hearts. They will demolish the house that saw the parents die, carry off the old man's chair, give a new squire to the astonished village, close a workshop, take away the bread from the children of a hamlet, divert the course of a river, stay or break a life and, through an infinity of time and space, burst the links of an uninterrupted chain of cause and effect. But none of these resounding truths utters an indiscreet whisper here. There are here more sleeping Furies than on the purple steps of the palace of the Atridæ; but their cries of waking and of pain lie hidden at the bottom of men's hearts. Nothing betrays, nothing foretells that there are definite ills hovering over those present and choosing their victims. Only, the eyes stare a little, while hands shiftily finger a pencil, a bit of paper. Not an unaccustomed word or gesture. Clammy expectation sits motionless. For this is the place of voiceless pantomime, of stifled fighting, of unblinking despair, of tragedy masked in silence, of dumb destiny sinking in an atmosphere of lies that swallows up every sound.

IV

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      Meanwhile, the little ball spins on the cylinder, and I reflect upon all that is destroyed by the formidable power conferred on it through a monstrous compact. Each time that it thus starts in search of the mysterious answer, it annihilates all around it the last essential remnants of our social morality: I mean, the value of money. To abolish the value of money and substitute for it a higher ideal would be an admirable achievement; but to abolish it and leave in its place simply nothing is, I conceive, one of the gravest crimes that can be committed against our scheme of evolution. If we look at it from