Виктор Мари Гюго
Les Misérables
CHAPTER VI – THE LITTLE CONVENT
In this enclosure of the Petit-Picpus there were three perfectly distinct buildings, – the Great Convent, inhabited by the nuns, the Boarding-school, where the scholars were lodged; and lastly, what was called the Little Convent. It was a building with a garden, in which lived all sorts of aged nuns of various orders, the relics of cloisters destroyed in the Revolution; a reunion of all the black, gray, and white medleys of all communities and all possible varieties; what might be called, if such a coupling of words is permissible, a sort of harlequin convent.
When the Empire was established, all these poor old dispersed and exiled women had been accorded permission to come and take shelter under the wings of the Bernardines-Benedictines. The government paid them a small pension, the ladies of the Petit-Picpus received them cordially. It was a singular pell-mell. Each followed her own rule. Sometimes the pupils of the boarding-school were allowed, as a great recreation, to pay them a visit; the result is, that all those young memories have retained among other souvenirs that of Mother Sainte-Bazile, Mother Sainte-Scolastique, and Mother Jacob.
One of these refugees found herself almost at home. She was a nun of Sainte-Aure, the only one of her order who had survived. The ancient convent of the ladies of Sainte-Aure occupied, at the beginning of the eighteenth century, this very house of the Petit-Picpus, which belonged later to the Benedictines of Martin Verga. This holy woman, too poor to wear the magnificent habit of her order, which was a white robe with a scarlet scapulary, had piously put it on a little manikin, which she exhibited with complacency and which she bequeathed to the house at her death. In 1824, only one nun of this order remained; to-day, there remains only a doll.
In addition to these worthy mothers, some old society women had obtained permission of the prioress, like Madame Albertine, to retire into the Little Convent. Among the number were Madame Beaufort d’Hautpoul and Marquise Dufresne. Another was never known in the convent except by the formidable noise which she made when she blew her nose. The pupils called her Madame Vacarmini (hubbub).
About 1820 or 1821, Madame de Genlis, who was at that time editing a little periodical publication called l’Intrépide, asked to be allowed to enter the convent of the Petit-Picpus as lady resident. The Duc d’Orléans recommended her. Uproar in the hive; the vocal-mothers were all in a flutter; Madame de Genlis had made romances. But she declared that she was the first to detest them, and then, she had reached her fierce stage of devotion. With the aid of God, and of the Prince, she entered. She departed at the end of six or eight months, alleging as a reason, that there was no shade in the garden. The nuns were delighted. Although very old, she still played the harp, and did it very well.
When she went away she left her mark in her cell. Madame de Genlis was superstitious and a Latinist. These two words furnish a tolerably good profile of her. A few years ago, there were still to be seen, pasted in the inside of a little cupboard in her cell in which she locked up her silverware and her jewels, these five lines in Latin, written with her own hand in red ink on yellow paper, and which, in her opinion, possessed the property of frightening away robbers: —
Imparibus meritis pendent tria corpora ramis:
Dismas et Gesmas, media est divina potestas;
Alta petit Dismas, infelix, infima, Gesmas;
Nos et res nostras conservet summa potestas.
Hos versus dicas, ne tu furto tua perdas.15
These verses in sixth century Latin raise the question whether the two thieves of Calvary were named, as is commonly believed, Dismas and Gestas, or Dismas and Gesmas. This orthography might have confounded the pretensions put forward in the last century by the Vicomte de Gestas, of a descent from the wicked thief. However, the useful virtue attached to these verses forms an article of faith in the order of the Hospitallers.
The church of the house, constructed in such a manner as to separate the Great Convent from the Boarding-school like a veritable intrenchment, was, of course, common to the Boarding-school, the Great Convent, and the Little Convent. The public was even admitted by a sort of lazaretto entrance on the street. But all was so arranged, that none of the inhabitants of the cloister could see a face from the outside world. Suppose a church whose choir is grasped in a gigantic hand, and folded in such a manner as to form, not, as in ordinary churches, a prolongation behind the altar, but a sort of hall, or obscure cellar, to the right of the officiating priest; suppose this hall to be shut off by a curtain seven feet in height, of which we have already spoken; in the shadow of that curtain, pile up on wooden stalls the nuns in the choir on the left, the school-girls on the right, the lay-sisters and the novices at the bottom, and you will have some idea of the nuns of the Petit-Picpus assisting at divine service. That cavern, which was called the choir, communicated with the cloister by a lobby. The church was lighted from the garden. When the nuns were present at services where their rule enjoined silence, the public was warned of their presence only by the folding seats of the stalls noisily rising and falling.
CHAPTER VII – SOME SILHOUETTES OF THIS DARKNESS
During the six years which separate 1819 from 1825, the prioress of the Petit-Picpus was Mademoiselle de Blemeur, whose name, in religion, was Mother Innocente. She came of the family of Marguerite de Blemeur, author of Lives of the Saints of the Order of Saint-Benoît. She had been re-elected. She was a woman about sixty years of age, short, thick, “singing like a cracked pot,” says the letter which we have already quoted; an excellent woman, moreover, and the only merry one in the whole convent, and for that reason adored. She was learned, erudite, wise, competent, curiously proficient in history, crammed with Latin, stuffed with Greek, full of Hebrew, and more of a Benedictine monk than a Benedictine nun.
The sub-prioress was an old Spanish nun, Mother Cineres, who was almost blind.
The most esteemed among the vocal mothers were Mother Sainte-Honorine; the treasurer, Mother Sainte-Gertrude, the chief mistress of the novices; Mother-Saint-Ange, the assistant mistress; Mother Annonciation, the sacristan; Mother Saint-Augustin, the nurse, the only one in the convent who was malicious; then Mother Sainte-Mechtilde (Mademoiselle Gauvain), very young and with a beautiful voice; Mother des Anges (Mademoiselle Drouet), who had been in the convent of the Filles-Dieu, and in the convent du Trésor, between Gisors and Magny; Mother Saint-Joseph (Mademoiselle de Cogolludo), Mother Sainte-Adélaide (Mademoiselle d’Auverney), Mother Miséricorde (Mademoiselle de Cifuentes, who could not resist austerities), Mother Compassion (Mademoiselle de la Miltière, received at the age of sixty in defiance of the rule, and very wealthy); Mother Providence (Mademoiselle de Laudinière), Mother Présentation (Mademoiselle de Siguenza), who was prioress in 1847; and finally, Mother Sainte-Céligne (sister of the sculptor Ceracchi), who went mad; Mother Sainte-Chantal (Mademoiselle de Suzon), who went mad.
There was also, among the prettiest of them, a charming girl of three and twenty, who was from the Isle de Bourbon, a descendant of the Chevalier Roze, whose name had been Mademoiselle Roze, and who was called Mother Assumption.
Mother Sainte-Mechtilde, intrusted with the singing and the choir, was fond of making use of the pupils in this quarter. She usually took a complete scale of them, that is to say, seven, from ten to sixteen years of age, inclusive, of assorted voices and sizes, whom she made sing standing, drawn up in a line, side by side, according to age, from the smallest to the largest. This presented to the eye, something in the nature of a reed-pipe of young girls, a sort of living Pan-pipe made of angels.
Those of the lay-sisters whom the scholars loved most were Sister Euphrasie, Sister Sainte-Marguérite, Sister Sainte-Marthe, who was in her dotage, and Sister Sainte-Michel, whose long nose made them laugh.
All these women were gentle with the children. The nuns were severe only towards themselves. No fire was lighted except in the school, and the food was choice compared to that in the convent. Moreover, they lavished a thousand cares on their scholars. Only, when a child passed near a nun and addressed her, the nun never replied.
This rule of silence had had this effect, that throughout the whole convent, speech had been withdrawn from human creatures, and bestowed on inanimate objects. Now it was the church-bell which spoke, now it was the gardener’s bell. A very sonorous bell, placed beside the portress, and which was audible throughout the house, indicated by its varied peals, which formed a sort of acoustic telegraph, all the actions of material life which were to be performed, and summoned to the parlor, in case of need, such or such an inhabitant of the house. Each person and each thing had its own peal. The prioress had one and one, the sub-prioress one and two. Six-five announced lessons, so that the pupils never said “to go to lessons,” but “to go to six-five.” Four-four was Madame de Genlis’s signal. It was very often heard. “C’est le diable a quatre,” – it’s the very deuce – said the uncharitable. Tennine strokes announced a great event. It was the opening of the door of seclusion, a frightful sheet of iron bristling with bolts which only turned on its hinges in the presence of the archbishop.
With the exception of the archbishop and the gardener, no man entered the convent, as we have already said. The schoolgirls saw two others: one, the chaplain, the Abbé Banés, old and ugly, whom they were permitted to contemplate in the choir, through a grating; the other the drawing-master, M. Ansiaux, whom the letter, of which we have perused a few lines, calls M. Anciot, and describes as a frightful old hunchback.
It will be seen that all these men were carefully chosen.
Such was this curious house.
CHAPTER VIII – POST CORDA LAPIDES
After having sketched its moral face, it will not prove unprofitable to point out, in a few words, its material configuration. The reader already has some idea of it.
The convent of the Petit-Picpus-Sainte-Antoine filled almost the whole of the vast trapezium which resulted from the intersection of the Rue Polonceau, the Rue Droit-Mur, the Rue Petit-Picpus, and the unused lane, called Rue Aumarais on old plans. These four streets surrounded this trapezium like a moat. The convent was composed of several buildings and a garden. The principal building, taken in its entirety, was a juxtaposition of hybrid constructions which, viewed from a bird’s-eye view, outlined, with considerable exactness, a gibbet laid flat on the ground. The main arm of the gibbet occupied the whole of the fragment of the Rue Droit-Mur comprised between the Rue Petit-Picpus and the Rue Polonceau; the lesser arm was a lofty, gray, severe grated façade which faced the Rue Petit-Picpus; the carriage entrance No. 62 marked its extremity. Towards the centre of this façade was a low, arched door, whitened with dust and ashes, where the spiders wove their webs, and which was open only for an hour or two on Sundays, and on rare occasions, when the coffin of a nun left the convent. This was the public entrance of the church. The elbow of the gibbet was a square hall which was used as the servants’ hall, and which the nuns called the buttery. In the main arm were the cells of the mothers, the sisters, and the novices. In the lesser arm lay the kitchens, the refectory, backed up by the cloisters and the church. Between the door No. 62 and the corner of the closed Aumarais Lane, was the school, which was not visible from without. The remainder of the trapezium formed the garden, which was much lower than the level of the Rue Polonceau, which caused the walls to be very much higher on the inside than on the outside. The garden, which was slightly arched, had in its centre, on the summit of a hillock, a fine pointed and conical fir-tree, whence ran, as from the peaked boss of a shield, four grand alleys, and, ranged by twos in between the branchings of these, eight small ones, so that, if the enclosure had been circular, the geometrical plan of the alleys would have resembled a cross superposed on a wheel. As the alleys all ended in the very irregular walls of the garden, they were of unequal length. They were bordered with currant bushes. At the bottom, an alley of tall poplars ran from the ruins of the old convent, which was at the angle of the Rue Droit-Mur to the house of the Little Convent, which was at the angle of the Aumarais Lane. In front of the Little Convent was what was called the little garden. To this whole, let the reader add a courtyard, all sorts of varied angles formed by the interior buildings, prison walls, the long black line of roofs which bordered the other side of the Rue Polonceau for its sole perspective and neighborhood, and he will be able to form for himself a complete image of what the house of the Bernardines of the Petit-Picpus was forty years ago. This holy house had been built on the precise site of a famous tennis-ground of the fourteenth to the sixteenth century, which was called the “tennis-ground of the eleven thousand devils.”
All these streets, moreover, were more ancient than Paris. These names, Droit-Mur and Aumarais, are very ancient; the streets which bear them are very much more ancient still. Aumarais Lane was called Maugout Lane; the Rue Droit-Mur was called the Rue des Églantiers, for God opened flowers before man cut stones.
CHAPTER IX – A CENTURY UNDER A GUIMPE
Since we are engaged in giving details as to what the convent of the Petit-Picpus was in former times, and since we have ventured to open a window on that discreet retreat, the reader will permit us one other little digression, utterly foreign to this book, but characteristic and useful, since it shows that the cloister even has its original figures.
In the Little Convent there was a centenarian who came from the Abbey of Fontevrault. She had even been in society before the Revolution. She talked a great deal of M. de Miromesnil, Keeper of the Seals under Louis XVI. and of a Presidentess Duplat, with whom she had been very intimate. It was her pleasure and her vanity to drag in these names on every pretext. She told wonders of the Abbey of Fontevrault, – that it was like a city, and that there were streets in the monastery.
She talked with a Picard accent which amused the pupils. Every year, she solemnly renewed her vows, and at the moment of taking the oath, she said to the priest, “Monseigneur Saint-François gave it to Monseigneur Saint-Julien, Monseigneur Saint-Julien gave it to Monseigneur Saint-Eusebius, Monseigneur Saint-Eusebius gave it to Monseigneur Saint-Procopius, etc., etc.; and thus I give it to you, father.” And the school-girls would begin to laugh, not in their sleeves, but under their veils; charming little stifled laughs which made the vocal mothers frown.
On another occasion, the centenarian was telling stories. She said that in her youth the Bernardine monks were every whit as good as the mousquetaires. It was a century which spoke through her, but it was the eighteenth century. She told about the custom of the four wines, which existed before the Revolution in Champagne and Bourgogne. When a great personage, a marshal of France, a prince, a duke, and a peer, traversed a town in Burgundy or Champagne, the city fathers came out to harangue him and presented him with four silver gondolas into which they had poured four different sorts of wine. On the first goblet this inscription could be read, monkey wine; on the second, lion wine; on the third, sheep wine; on the fourth, hog wine. These four legends express the four stages descended by the drunkard; the first, intoxication, which enlivens; the second, that which irritates; the third, that which dulls; and the fourth, that which brutalizes.
In a cupboard, under lock and key, she kept a mysterious object of which she thought a great deal. The rule of Fontevrault did not forbid this. She would not show this object to anyone. She shut herself up, which her rule allowed her to do, and hid herself, every time that she desired to contemplate it. If she heard a footstep in the corridor, she closed the cupboard again as hastily as it was possible with her aged hands. As soon as it was mentioned to her, she became silent, she who was so fond of talking. The most curious were baffled by her silence and the most tenacious by her obstinacy. Thus it furnished a subject of comment for all those who were unoccupied or bored in the convent. What could that treasure of the centenarian be, which was so precious and so secret? Some holy book, no doubt? Some unique chaplet? Some authentic relic? They lost themselves in conjectures. When the poor old woman died, they rushed to her cupboard more hastily than was fitting, perhaps, and opened it. They found the object beneath a triple linen cloth, like some consecrated paten. It was a Faenza platter representing little Loves flitting away pursued by apothecary lads armed with enormous syringes. The chase abounds in grimaces and in comical postures. One of the charming little Loves is already fairly spitted. He is resisting, fluttering his tiny wings, and still making an effort to fly, but the dancer is laughing with a satanical air. Moral: Love conquered by the colic. This platter, which is very curious, and which had, possibly, the honor of furnishing Molière with an idea, was still in existence in September, 1845; it was for sale by a bric-à-brac merchant in the Boulevard Beaumarchais.
This good old woman would not receive any visits from outside because, said she, the parlor is too gloomy.
CHAPTER X – ORIGIN OF THE PERPETUAL ADORATION
However, this almost sepulchral parlor, of which we have sought to convey an idea, is a purely local trait which is not reproduced with the same severity in other convents. At the convent of the Rue du Temple, in particular, which belonged, in truth, to another order, the black shutters were replaced by brown curtains, and the parlor itself was a salon with a polished wood floor, whose windows were draped in white muslin curtains and whose walls admitted all sorts of frames, a portrait of a Benedictine nun with unveiled face, painted bouquets, and even the head of a Turk.
It is in that garden of the Temple convent, that stood that famous chestnut-tree which was renowned as the finest and the largest in France, and which bore the reputation among the good people of the eighteenth century of being the father of all the chestnut trees of the realm.
As we have said, this convent of the Temple was occupied by Benedictines of the Perpetual Adoration, Benedictines quite different from those who depended on Cîteaux. This order of the Perpetual Adoration is not very ancient and does not go back more than two hundred years. In 1649 the holy sacrament was profaned on two occasions a few days apart, in two churches in Paris, at Saint-Sulpice and at Saint-Jean en Grève, a rare and frightful sacrilege which set the whole town in an uproar. M. the Prior and Vicar-General of Saint-Germain des Prés ordered a solemn procession of all his clergy, in which the Pope’s Nuncio officiated. But this expiation did not satisfy two sainted women, Madame Courtin, Marquise de Boucs, and the Comtesse de Châteauvieux. This outrage committed on “the most holy sacrament of the altar,” though but temporary, would not depart from these holy souls, and it seemed to them that it could only be extenuated by a “Perpetual Adoration” in some female monastery. Both of them, one in 1652, the other in 1653, made donations of notable sums to Mother Catherine de Bar, called of the Holy Sacrament, a Benedictine nun, for the purpose of founding, to this pious end, a monastery of the order of Saint-Benoît; the first permission for this foundation was given to Mother Catherine de Bar by M. de Metz, Abbé of Saint-Germain, “on condition that no woman could be received unless she contributed three hundred livres income, which amounts to six thousand livres, to the principal.” After the Abbé of Saint-Germain, the king accorded letters-patent; and all the rest, abbatial charter, and royal letters, was confirmed in 1654 by the Chamber of Accounts and the Parliament.
Such is the origin of the legal consecration of the establishment of the Benedictines of the Perpetual Adoration of the Holy Sacrament at Paris. Their first convent was “a new building” in the Rue Cassette, out of the contributions of Mesdames de Boucs and de Châteauvieux.
This order, as it will be seen, was not to be confounded with the Benedictine nuns of Cîteaux. It mounted back to the Abbé of Saint-Germain des Prés, in the same manner that the ladies of the Sacred Heart go back to the general of the Jesuits, and the sisters of charity to the general of the Lazarists.
It was also totally different from the Bernardines of the Petit-Picpus, whose interior we have just shown. In 1657, Pope Alexander VII. had authorized, by a special brief, the Bernardines of the Rue Petit-Picpus, to practise the Perpetual Adoration like the Benedictine nuns of the Holy Sacrament. But the two orders remained distinct nonetheless.
