Society

§308 After leading us through the lowest strata of society, for example through the criminals' taverns, Eugene Sue transports us to "haute volee”,' to a ball in the Quartier Saint-Germain.

§309 This transition Herr Szeliga construes as follows:

§310 "Mystery tries to evade examination by a ... twist: so far it appeared as the absolutely enigmatic, elusive and negative, in contrast to the true, real and positive; now it withdraws into the latter as its invisible content. But by doing so it gives up the unconditional possibility of becoming known."

§311 "Mystery" which has so far appeared in contrast to the "true", the "real", the "positive", that is, to law and education, "now withdraws into the latter", that is, into the realm of education. It is certainly a mystere for Paris, if not of Paris, that "haute volee" is the exclusive realm of education. Herr Szeliga does not pass from the mysteries of the criminal world to those of aristocratic society; instead, "Mystery” becomes the "invisible content" of educated society, its real essence. It is "not a new twist" of Herr Szeliga's designed to enable him to proceed to further examination; "Mystery” itself takes this "new twist" in order to escape examination.

§312 Before really following Eugene Sue where his heart leads him - to an aristocratic ball, Herr Szeliga resorts to the hypocritical twists of speculation which makes a priori constructions.

§313 "One can naturally foresee what a solid shell 'Mystery' will choose to hide in; it seems, in fact, that it is of insuperable impenetrability ... that ... hence it may be expected that in general ... nevertheless a new attempt to pick out the kernel is here indispensable."

§314 Enough. Herr Szeliga has gone so far that the

§315 "metaphysical subject, Mystery, now steps forward, light, self-confident and jaunty".

§316 In order now to change aristocratic society into a "mystery", Herr Szeliga gives us a few considerations on "education". He presumes aristocratic society to have all sorts of qualities that no man would look for in it, in order later to find the "mystery" that it does not possess those qualities. Then he presents this discovery as the "mystery" of educated society. Herr Szeliga wonders, for example, whether "general reason" (does he mean speculative logic?) constitutes the content of its "drawing-room talk", whether "the rhythm and measure of love alone makes" it a "harmonious whole", whether "what we call general education is the form of the general, the eternal, the ideal", i.e., whether what we call education is a metaphysical illusion. It is not difficult for Herr Szeliga to prophesy a priori in answer to his questions:

§317 "It is to be expected, however ... that the answer will be in the negative."

§318 In Eugene Sue's novel, the transition from the low world to the aristocratic world is a normal transition for a novel. The disguises of Rudolph, Prince of Geroldstein, give him entry into the lower strata of society as his title gives him access to the highest circles. On his way to the aristocratic ball he is by no means engrossed in the contrasts of contemporary life; it is the contrasts of his own disguises that he finds piquant. He informs his obedient companions how extraordinarily interesting he finds himself in the various situations.

§319 "Je trouve," he says, "assez de piquant dans ces contrastes: un jour peintre en éventails, m'établant dans un bouge de la rue aux Fèves; ce matin commis marchand offrant un verre de cassis à Madame Pipelet, et ce soir ... un des privilégiés par la grâce de dieu, qui règnent sur ce monde."

§320 When Critical Criticism is ushered into the ball-room, it sings:

§321 Sense and reason forsake me near,
In the midst of the potentates here![15]

§322 It pours forth in dithyrambs as follows:

§323 "Here magic brings the brilliance of the sun at night, the verdure of spring and the splendour of summer in winter. We immediately feel in a mood to believe in the miracle of the divine presence in the breast of man, especially when beauty and grace uphold the conviction that we are in the immediate proximity of ideals." (!!!)

§324 Inexperienced, credulous Critical country parson! Only your Critical ingenuousness can be raised by an elegant Parisian ball-room "to a mood" in which you believe in "the miracle of the divine presence in the breast of man", and see in Parisian lionesses "immediate ideals" and angels corporeal!

§325 In his unctuous naivety the Critical parson listens to the two "most beautiful among the beautiful", Clemence d'Harville and Countess Sarah MacGregor. One can guess what he wishes to "hear" from them:

§326 "In what way we can be the blessing of beloved children and the 'fullness of happiness of a husband"!... "We hark ... we wonder ... we do not trust our ears."

§327 We secretly feel a malicious pleasure when the listening parson is disappointed. The ladies converse neither about "blessing", nor "fullness", nor "general reason", but about "an infidelity of Madame d'Harville to her husband".

§328 We get the following naive revelation about one of the ladies, Countess MacGregor:

§329 She was "enterprising enough to become mother to a child as the result of a secret marriage".

§330 Unpleasantly affected by the

§331 of the Countess, Herr Szeliga has sharp words for her:

§332 "We find that all the strivings of the Countess are for her personal, selfish advantage."

§333 Indeed, he expects nothing good from the attainment of her purpose - marriage to the Prince of Geroldstein:

§334 "concerning which we can by no means expect that she will avail herself of it for the happiness of the Prince of Geroldstein's subjects."

§335 The puritan ends his admonitory sermon with "profound earnestness":

§336 "Sarah" (the enterprising lady), "incidentally, is hardly an exception in this brilliant circle, although she is one of its summits."

§337 Incidentally, hardly! Although! And is not the "summit" of a circle an exception?

§338 Here is what we learn about the character of two other ideals, the Marquise d'Harville and the Duchess of Lucenay:

§339 They "'lack satisfaction of the heart'. They have not found in marriage the object of love, so they seek it outside marriage. In marriage, love has remained a mystery for them, and the imperative urge of the heart drives them to unravel this mystery. So they give themselves up to secret love. These 'victims' of 'loveless marriage' are 'driven against their will to debase love to something external, to a so-called affair, and take the romantic, the secrecy, for the internal, the vivifying, the essential element of love'".

§340 The merit of this dialectical reasoning is to be assessed all the higher as it is of more general application.

§341 He, for example, who is not allowed to drink at home and yet feels the need to drink looks for the "object" of drinking "outside" the house, and "so" takes to secret drinking. Indeed, he will be driven to consider secrecy an essential ingredient of drinking, although he will not debase drink to a mere "external" indifferent thing, any more than those ladies did with love. For, according to Herr Szeliga himself, it is not love, but marriage without love, that they debase to what it really is, to something external, to a so-called affair.

§342 Herr Szeliga goes on to ask: "What is the 'mystery' of love?"

§343 We have just had the speculative construction that "mystery" is the "essence" of this kind of love. How is it that we now come to be looking for the mystery of the mystery, the essence of the essence?

§344 "Not the shady paths in the thickets," declaims the parson, "not the natural semi-obscurity of moonlight night nor the artificial semi-obscurity of costly curtains and draperies; not the soft and enrapturing notes of the harps and the organs, not the attraction of what is forbidden...."

§345 Curtains and draperies! Soft and enrapturing notes! Even the organ! Let the reverend parson stop thinking of church! Who would bring an organ to a love tryst?

§346 "All this" (curtains, draperies and organs) "is only the mysterious."

§347 And is not the mysterious the "mystery" of mysterious love? By no means:

§348 "The mysterious in it is what excites, what intoxicates, what enraptures, the power of sensuality."

§349 In the "soft and enrapturing" notes, the parson already had what enraptures. Had he brought turtle soup and champagne to his love tryst instead of curtains and organs, the "exciting and intoxicating" would have been present too.

§350 "It is true we do not like to admit," the reverend gentleman argues, "the power of sensuality; but it has such tremendou's power over us only because we cast it out of us and will not recognise it as our own nature, which we should then be in a position to dominate if it tried to assert itself at the expense of reason, of true love and of will-power."

§351 The parson advises us, after the fashion of speculative theology, to recognise sensuality as our own nature, in order afterwards to be able to dominate it, i.e., to retract recognition of it. True, he wishes to dominate it only when it tries to assert itself at the expense of Reason - will-power and love as opposed to sensuality are only the will-power and love of Reason. The unspeculative Christian also recognises sensuality as long as it does not assert itself at the expense of true reason, i.e., of faith, of true love, i.e., of love of God, of true will-power, i.e., of will in Christ.

§352 The parson immediately betrays his real meaning when he continues:

§353 "If then love ceases to be the essential element of marriage and of morality in general, sensuality becomes the mystery of love, of morality, of educated society - sensuality both in its narrow meaning, in which it is a trembling in the nerves and a burning stream in the veins, and in the broader meaning, in which it is elevated to a semblance of spiritual power, to lust for power, ambition, craving for glory.... Countess MacGregor represents" the latter meaning "of sensuality as the mystery of educated society."

§354 The parson hits the nail on the head. To overcome sensuality he must first of all overcome the nerve currents and the quick circulation of the blood.- Herr Szeliga believes in the "narrow" meaning that greater warmth in the body comes from the heat of the blood in the veins; he does not know that warm-blooded animals are so called because the temperature of their blood, apart from slight modifications, always remams at a constant level.- As soon as there is no more nerve current and the blood in the veins is no longer hot, the sinful body, this seat of sensual lust, becomes a corpse and the souls can converse unhindered about "general reason", "true love", and "pure morals". The parson debases sensuality to such an extent that he abolishes the very elements of sensual love which inspire it - the rapid circulation of the blood, which proves that man does not love by insensitive phlegm; the nerve currents which connect the organ that is the main seat of sensuality with the brain. He reduces true sensual love to the mechanical secretio seminis and lisps with a notorious German theologian:

§355 "Not for the sake of sensual love, not for the lust of the flesh, but because the Lord said: Increase and multiply."

§356 Let us now compare the speculative construction with Eugene Sue's novel. It is not sensuality which is presented as the secret of love, but mysteries, adventures, obstacles, fears, dangers, and especially the attraction of what is forbidden.

§357 "Pourquoi," says Eugene Sue, "beaucoup de femmes prennent-elles pourtant des hommes qui ne valent pas leurs maris? Parce que le plus grand chenne de l'amour est l'attrait affriandant du fruit défendu ... avancez que, en retranchant de cet amour les craintes, les angoisses, les difficultés, les mystères, les dangers, il ne reste rien ou peu de chose, c'est-à-dire, l'amant ... dans sa simplicité première ... en un mot, ce serait toujours plus ou moins l'aventure de cet homme à qui l'on disait: 'Pourquoi n'épousez-vous donc pas cette veuve, votre maîtresse?' - 'Hélas, j'y ai bien pensé' - répondit-il' - 'mais alors je ne saurais plus où aller passer mes soirées.'"

§358 Whereas Herr Szeliga says explicitly that the mystery of love is not in the attraction of what is forbidden, Eugene Sue says just as explicitly that it is the "greatest charm of love" and the reason for all love adventures extra muros.

§359 "Prohibition and smuggling are as inseparable in love as in trade." [16]

§360 Eugene Sue similarly maintains, contrary to his speculative commentator, that

§361 "the propensity to pretence and craft, the liking for mysteries and intrigues, is an essential quality, a natural propensity and an imperative instinct of woman's nature".

§362 The only thing which embarrasses Eugene Sue is that this propensity and this liking are directed against marriage. He would like to give the instincts of woman's nature a more harmless, more useful application.

§363 Herr Szeliga makes Countess MacGregor a representative of the kind of sensuality which "is elevated to a semblance of spiritual power", but in Eugene Sue she is a person of abstract reason. Her "ambition" and her "pride", far from being forms of sensuality, are born of an abstract reason which is completely independent of sensuality. That is why Eugene Sue explicitly notes that

§364 "the fiery impulses of love could never make her icy breast heave; no surprise of the heart or the senses could upset the pitiless calculations of this crafty, selfish, ambitious woman".

§365 This woman's essential character lies in the egoism of abstract reason that never suffers from the sympathetic senses and on which the blood has no influence. Her soul is therefore described as "dry and hard", her mind as "artfully wicked", her character as "treacherous" and - what is very typical of a person of abstract reason - as "absolute", her dissimulation as "profound".- It is to be noted incidentally that Eugene Sue motivates the career of the Countess just as stupidly as that of most of his characters. An old nurse gives her the idea that she must become a "crowned head". Convinced of this, she undertakes journeys to capture a crown through marriage. Finally she commits the inconsistency of considering a petty German "Serenissimus” as a "crowned head".

§366 After his outpourings against sensuality, our Critical saint deems it necessary to show why Eugene Sue introduces us to haute volee at a ball, a method which is used by nearly all French novelists, whereas the English do so more often at the chase or in a country mansion.

§367 "For this" (i.e., Herr Szeliga's) "conception it cannot be indifferent there" (in Herr Szeliga's construction) "and merely accidental that Eugene Sue introduces us to high society at a ball."

§368 Now the horse has been given a free rein and it trots briskly towards the necessary end through a series of conclusions reminding one of the late Wolff.

§369 "Dancing is the most common manifestation of sensuality as a mystery. The immediate contact, the embracing of the two sexes" (?) "necessary to form a couple are allowed in dancing because, in spite of appearances, and the really" (really, Mr. Parson?) "perceptible pleasant sensation, it is not considered as sensual contact and embracing" (but probably as connected with universal reason?).

§370 And then comes a closing sentence which at best staggers rather than dances:

§371 "For if it were in actual fact considered as such it would be impossible to understand tuhy society is so lenient only as regards dancing while it, on the contrary, so severely condemns that which, if exhibited with similar freedom elsewhere, incurs branding and merciless casting out as a most unpardonable offence against morals and modesty."

§372 The reverend parson speaks here neither of the cancan nor of the polka, but of dancing in general, of the category Dancing, which is not performed anywhere except in his Critical cranium. Let him see a dance at the Chaumiere in Paris, and his Christian-German soul would be outraged by the boldness, the frankness, the graceful petulance and the music of that most sensual movement. His own "really perceptible pleasant sensation" would make it "perceptible" to him that "in actual fact it would be impossible to understand why the dancers themselves, while on the contrary they" give the spectator the uplifting impression of frank human sensuality - "which, if exhibited in the same way elsewhere" - namely in Germany - "would be severely condemned as an unpardonable offence", etc., etc.- why those dancers, at least so to speak in their own eyes, not only should not and may not, but of necessity canot and must not be frankly sensual hurnan beings!!

§373 The Critic introduces us to the ball for the sake of the essence of dancing. He encounters a great difficulty. True, there is dancing at this ball, but only in imagination. The fact is that Eugene Sue does not say a word describing the dancing. He does not mix among the throng of dancers. He makes use of the ball only as an opportunity for bringing together his characters from the upper aristocracy. In despair, "Criticism" comes to help out and supplement the author, and its own "fancy" easily provides a description of ball incidents, etc. If, as prescribed by Criticism, Eugene Sue was not directly interested in the criminals' hide-outs and language when he described them, the dance, on the other hand, which not he but his "fanciful" Critic describes, necessarily interests him infinitely.

§374 Let us continue.

§375 "Actually, the secret of sociable tone and tact - the secret of that extremely unnatural thing - is the longing to return to nature. That is why the appearance of a person like Cecily in educated society has such an electrifying effect and is crowned with such extraordinary success. She grew up a slave among slaves, without any education, and the only source of life she has to rely upon is her -nature. Suddenly transported to a court and subjected to its constraint and customs, she soon learns to see through the secret of the latter.... In this sphere, which she can undoubtedly hold in sway because her power, the power of her nature, has an enigmatic magic, Cecily must necessarily stray into losing all sense of measure, whereas formerly, when she was still a slave, the same nature taught her to resist any unworthy demand of the powerful master and to remain true to her love. Cecily is the mystery of educated society disclosed. The scorned senses finally break down the barriers and surge forth completely uncurbed", etc.

§376 Those of Herr Szeliga's readers who have not read Sue's novel will certainly think that Cecily is the lioness of the ball that is described. In the novel she is in a German gaol while the dancing goes on in Paris.

§377 Cecily, as a slave, remains true to the Negro doctor David because she loves him "passionately" and because her owner, Mr. Willis, is "brutal" in courting her. The reason for her change to a dissolute life is a very simple one. Transported into the "European world", she "blushes" at being "married to a Negro". On arriving in Germany she is "at once” seduced by a wicked man and her "Indian blood" comes into its own. This the hypocritical M. Sue, for the sake of douce morale and doux commerce, is bound to describe as "perversité naturelle"."

§378 The secret of Cecily is that she is a half-breed. The secret of her sensuality is the heat of the tropics. Parny sang praises of the half-breed in his beautiful lines to Eleonore. Over a hundred sea-faring tales tell us how dangerous she is to sailors.

§379 "Cecily était le type incarné de la sensualité brûlante, qui ne s'allume qu'au feu des tropiques.... Tout le monde a entendu parler de ces filles de couleur, pour ainsi dire mortelles aux Européens, de ces vampyrs enchanteurs, qui, enivrant leurs victimes de séductions terribles ... ne lui laissent, selon l'énergique expression du pays, que ses larmes à boire, que son coeur à ronger."

§380 Cecily was far from producing such a magical effect precisely on people aristocratically educated, blasé...

§381 "les femmes de l'espèce de Cecily exercent une action soudaine, une omnipotence magique sur les hommes de sensualité brutale tels que Jacques Ferrand".

§382 Since when have men like Jacques Ferrand been representative of fine society? But Critical Criticism must speculatively make Cecily a factor in the life-process of Absolute Mystery.