had sought a refuge in Brittany in the company of a young painter endowed with divine inspiration, one Norbert, who had undertaken to decorate a convent chapel with paintings that depicted his various visions. And for thirty years he went on painting there, ever in colloquy with the angels, and ever having AnneMarie beside him. And during those thirty years of love the Countess’s beauty remained unimpaired; she was as young and as fresh at the finish as at the outset; whereas certain secondary personages, introduced into the story, wives and mothers of a neighboring little town, sank into physical and mental decay, and monstrous decrepitude. Mathieu considered the author’s theory that all physical beauty and moral nobility belonged to virgins only, to be thoroughly imbecile, and he could not restrain himself from hinting his disapproval of it.
Both Santerre and Seguin, however, hotly opposed him, and quite a discussion ensued. First Santerre took up the matter from a religious standpoint. Said he, the words of the Old Testament, “Increase and multiply,” were not to be found in the New Testament, which was the true basis of the Christian religion. The first Christians, he declared, had held marriage in horror, and with them the Holy Virgin had become the ideal of womanhood. Seguin thereupon nodded approval and proceeded to give his opinions on feminine beauty. But these were hardly to the taste of Mathieu, who promptly pointed out that the conception of beauty had often varied.
“To-day,” said he, “you conceive beauty to consist in a long, slim, attenuated, almost angular figure; but at the time of the Renaissance the type of the beautiful was very different. Take Rubens, take Titian, take even Raffaelle, and you will see that their women were of robust build. Even their Virgin Marys have a motherly air. To my thinking, moreover, if we reverted to some such natural type of beauty, if women were not encouraged by fashion to compress and attenuate their figures so that their very nature, their very organism is changed, there would perhaps be some hope of coping with the evil of depopulation which is talked about so much nowadays.”
The others looked at him and smiled with an air of compassionate superiority. “Depopulation an evil!” exclaimed Seguin; “can you, my dear sir, intelligent as you are, still believe in that hackneyed old story? Come, reflect and reason a little.”
Then Santerre chimed in, and they went on talking one after the other and at times both together. Schopenhauer and Hartmann and Nietzsche were passed in review, and they claimed Malthus as one of themselves. But all this literary pessimism did not trouble Mathieu. He, with his belief in fruitfulness, remained convinced that the nation which no longer had faith in life must be dangerously ill. True, there were hours when he doubted the expediency of numerous families and asked himself if ten thousand happy people were not preferable to a hundred thousand unhappy ones; in which connection political and economic conditions had to be taken into account. But when all was said, he remained almost convinced that the Malthusian hypotheses would prove as false in the future as they had proved false in the past.
“Moreover,” said he, “even if the world should become densely populated, even if food supplies, such as we know them, should fall short, chemistry would extract other means of subsistence from inorganic matter. And, besides, all such eventualities are so far away that it is impossible to make any calculation on a basis of scientific certainty. In France, too, instead of contributing to any such danger, we are going backward, we are marching towards annihilation. The population of France was once a fourth of the population of Europe, but now it is only one-eighth. In a century or two Paris will be dead, like ancient Athens and ancient Rome, and we shall have fallen to the rank that Greece now occupies. Paris seems determined to die.”
But Santerre protested: “No, no; Paris simply wishes to remain stationary, and it wishes this precisely because it is the most intelligent, most highly civilized city in the world. The more nations advance in civilization the smaller becomes their birth-rate. We are simply giving the world an example of high culture, superior intelligence, and other nations will certainly follow that example when in turn they also attain to our state of perfection. There are signs of this already on every side.”
“Quite so!” exclaimed Seguin, backing up his friend. “The phenomenon is general; all the nations show the same symptoms, and are decreasing in numbers, or will decrease as soon as they become civilized. Japan is affected already, and the same will be the case with China as soon as Europe forces open the door there.”
Mathieu had become grave and attentive since the two society men, seated before him in evening dress, had begun to talk more rationally. The pale, slim, flat virgin, their ideal of feminine beauty, was no longer in question. The history of mankind was passing by. And almost as if communing with himself, he said: “So you do not fear the Yellow Peril, that terrible swarming of Asiatic barbarians who, it was said, would at some fatal moment sweep down on our Europe, ravage it, and people it afresh? In past ages, history always began anew in that fashion, by the sudden shifting of oceans, the invasion of fierce rough races coming to endow weakened nations with new blood. And after each such occurrence civilization flowered afresh, more broadly and freely than ever. How was it that Babylon, Nineveh, and Memphis fell into dust with their populations, who seem to have died on the spot? How is it that Athens and Rome still agonize to-day, unable to spring afresh from their ashes and renew the splendor of their ancient glory? How is it that death has already laid its hand upon Paris, which, whatever her splendor, is but the capital of a France whose virility is weakened? You may argue as you please and say that, like the ancient capitals of the world, Paris is dying of an excess of culture, intelligence, and civilization; it is none the less a fact that she is approaching death, the turn of the tide which will carry splendor and power to some new nation. Your theory of equilibrium is wrong. Nothing can remain stationary; whatever ceases to grow, decreases and disappears. And if Paris is bent on dying, she will die, and the country with her.”
“Well, for my part,” declared Santerre, resuming the pose of an elegant pessimist, “if she wishes to die, I shan’t oppose her. In fact, I’m fully determined to help her.”
“It is evident that the really honest, sensible course is to check any increase of population,” added Seguin.
But Mathieu, as if he had not heard them, went on: “I know Herbert Spencer’s law, and I believe it to be theoretically correct. It is certain that civilization is a check to fruitfulness, so that one may picture a series of social evolutions conducing now to decrease and now to increase of population, the whole ending in final equilibrium, by the very effect of culture’s victory when the world shall be entirely populated and civilized. But who can foretell what road will be followed, through what disasters and sufferings one may have to go? More and more nations may disappear, and others may replace them; and how many thousands of years may not be needed before the final adjustment, compounded of truth, justice, and peace, is arrived at? At the thought of this the mind trembles and hesitates, and the heart contracts with a pang.”
Deep silence fell while he thus remained disturbed, shaken in his faith in the good powers of life, and at a loss as to who was right — he or those two men so languidly stretched out before him.
But Valentine, Seguin’s wife, came in, laughing and making an exhibition of masculine ways, which it had cost her much trouble to acquire.
“Ah! you people; you must not bear me any malice, you know. That girl Celeste takes such a time over everything!”
At five-and-twenty Valentine was short, slight, and still girlish. Fair, with a delicate face, laughing blue eyes, and a pert little nose, she could not claim to be pretty. Still she was charming and droll, and very free and easy in her ways; for not only did her husband take her about with him to all sorts of objectionable places, but she had become quite familiar with the artists and writers who frequented the house. Thus it was only in the presence of something extremely insulting that she again showed herself the last of the Vaugelades, and would all at once draw herself up and display haughty contempt and frigidity.
“Ah! it’s you, Monsieur Froment,” she
