One night Crammon entered a tavern in the outer boulevards. It was
called “Le pauvre Job.” He looked about him for a while and then sat
down near a table at which several young men of foreign appearance were
conversing softly in a strange tongue.
It was a group of Russian political refugees whose meeting place he
had discovered. Their chief was Ivan Michailovitch Becker. Crammon
pretended to be reading a paper while he observed his man, whom he
recognized from a photograph which Prince Wiguniewski had shown him. He
had never seen so fanatical a face. He compared it with a smouldering
fire that filled the air with heat and fumes.
He had been told that Ivan Becker had suffered seven years of
imprisonment and five of Siberian exile and that many thousands of the
young men of his people were wholly devoted to him and would risk any
danger or sacrifice at his bidding.
“Here they live in the most brilliant spot of the habitable earth,”
Crammon thought angrily, “and plan horrors.”
Crammon was an enemy of violent overthrow. If it did not interfere
with his own comfort, he was rather glad to see the poor get the
better of the over-fed bourgeois. He was a friend of the poor. He took
a condescending and friendly interest in the common people. But he
respected high descent, opposed any breach of venerable law, and held
his monarch in honour. Every innovation in the life of the state filled
him with presentiments of evil, and he deprecated the weakness of the
governments that had permitted the wretched parliaments to usurp their
powers.
He knew that there was something threatening at the periphery of his
world. A stormwind from beyond blew out lamps. What if they should all
be blown out? Was not their light and radiance the condition of a calm
life?
He sat there in his seriousness and dignity, conscious of his
superiority and of his good deeds. As a representative of order he had
determined to appeal to the conscience of these rebels if a suitable
opportunity were to come. Yet what tormented him was less an anxiety
over the throne of the Tsar than one over Eva Sorel. It was necessary
to free the dancer from the snares of this man.
An accident favoured his enterprise. One man after another left the
neighbouring table and at last Ivan Becker was left alone. Crammon took
his glass of absinthe and went over. He introduced himself, referring
to his friendship with Prince Wiguniewski.
Silently Becker pointed to a chair.
True to his kind and condescending impulses Crammon assumed the part of
an amiable man who can comprehend every form of human aberration. He
approached his aim with innocent turns of speech. He scarcely touched
the poisonous undergrowth of political contentions. He merely pointed
out with the utmost delicacy that, in the West of Europe, the private
liberty of certain lofty personages would have to remain untouched
unless force were to be used to oppose force. Gentle as his speech was,
it was an admonition. Ivan smiled indulgently.
“Though the whole sky were to flare with the conflagrations that
devastate your Holy Russia,” Crammon said with conscious eloquence,
and the corners of his mouth seemed to bend in right angles toward his
square chin, “we will know how to defend what is sacred to us. Caliban
is an impressive beast. But if he were to lay his hands on Ariel he
might regret it.”
Again Ivan Michailovitch smiled. His expression was strangely mild and
gentle, and gave his homely, large face an almost feminine aspect. He
listened as though desiring to be instructed.
Crammon was encouraged. “What has Ariel to do with your misery? He
looks behind him to see if men kiss the print of his feet. He demands
joy and glory, not blood and force.”
“Ariel’s feet are dancing over open graves,” Ivan Michailovitch said
softly.
“Your dead are safe at peace,” Crammon answered. “With the living we
shall know how to deal.”
“We are coming,” said Ivan Michailovitch still more softly. “We are
coming.” It sounded mysterious.
Half fearfully, half contemptuously Crammon looked at the man. After a
long pause he said as though casually, “At twelve paces I can hit the
ace of hearts four times out of five.”
Ivan Michailovitch nodded. “I can’t,” he said almost humbly, and showed
his right hand, which he usually concealed skilfully. It was mutilated.
“What happened to your hand?” Crammon asked in pained surprise.
“When I lay in the subterranean prison at Kazan a keeper forged the
chain about me too hard,” Ivan Michailovitch murmured.
Crammon was silent, but the other went on: “Perhaps you’ve noticed too
that it’s difficult for me to speak. I lived alone too long in the
desert of snow, in a wooden hut, in the icy cold. I became unused to
words. I suffered. But that is only a single word: suffering. How can
one make its content clear? My body was but a naked scaffolding, a
ruin. But my heart grew and expanded. How can I tell it? It grew to be
so great, so blood red, so heavy that it became a burden to me in the
fearful attempt at flight which I finally risked. But God protected
me.” And he repeated softly, “God protected me.”
In Crammon’s mind all ideas became confused. Was this man with his
gentle voice and the timid eyes of a girl the murderous revolutionary
and hero of possible barricades whom he had expected to meet? In his
surprise and embarrassment he became silent.
“Let us go,” said Ivan Michailovitch. “It is late.” He arose and threw
a coin on the table and stepped out into the street at Crammon’s
side. There he began again, hesitatingly and shyly: “I don’t want to
presume to judge, but I don’t understand these people here. They are
so certain of themselves and so reasonable. Yet that reasonableness is
the completest madness. A beast of the field that feels the tremor of
an earthquake and flees is wiser. And another thing: Ariel, the being
whom you strive so eloquently to protect, has no moral responsibility.
No one thinks of blaming it. What is it but form, gesture, beauty? But
don’t you think that the darker hue and deeper power that are born
of the knowledge of superhuman suffering might raise art above the
interests of idle sybarites? We need heralds who stand above the idioms
of the peoples; but those are possibilities that one can only dream of
with despair in one’s heart.” He nodded a brief good-night and went.
Crammon felt like a man who had merrily gone out in a light spring
suit but had been overtaken by a rainstorm and returns drenched and
angry. The clocks were striking two. A lady of the Opéra Comique had
been waiting for him since midnight; the key to her apartment was in
his pocket. But when he came to the bridge across the Seine he seized
the key and, overcome by a violent fit of depression, flung it into the
water.
“Sweet Ariel!” He spoke softly to himself. “I kiss the prints of your
feet.”