But, on the other hand, the contrast between its sordidness and the cool, spacious Grand’ Place into which, after what seemed a carefully studied preparatory twisting and turning among the narrow streets of the old town, it finally debouched, was all the more striking and refreshing. Like a ship floating out from between the jaws of a canyon into a wide and sunlit lake, our carriage emerged upon the Grand’ Place. And the moment was solemn, breathlessly anticipated and theatrical, as though we were gliding in along the suspended calling of the oboes and bassoons, and the violins trembling with amorous anxiety all around us, rolling silently and with not a hitch in the stage carpentry on to some vast and limelit stage where, as soon as we had taken up our position well forward and in the centre, something tremendous, one imagined, would suddenly begin to happen—a huge orchestral tutti from contrabass trombone to piccolo, from bell instrument to triangle, and then the tenor and soprano in such a duet as had never in all the history of opera been heard before.
But when it came to the point, our entrance was never quite so dramatic as all that. One found, when one actually got there, that one had mistaken one’s opera; it wasn’t Parsifal or Rigoletto; it was Pelléas or perhaps the Village Romeo and Juliet. For there was nothing grandiosely Wagnerian, nothing Italian and showy about the Grand’ Place at Longres. The last light was rosy on its towers, the shadows of the promenaders stretched half across the place, and in the vast square the evening had room to be cool and quiet. The Gothic Church had a sharp steeple and the seminary by its side a tower, and the little seventeenth-century Hôtel de Ville, with its slender belfry, standing in the middle of that open space as though not afraid to let itself be seen from every side, was a miracle of gay and sober architecture; and the houses that looked out upon it had faces simple indeed, burgess and ingenuous, but not without a certain nobility, not without a kind of unassuming provincial elegance. In, then, we glided, and the suspended oboeings of our entrance, instead of leading up to some grand and gaudy burst of harmony, fruitily protracted themselves in this evening beauty, exulted quietly in the rosy light, meditated among the lengthening shadows; and the violins, ceasing to tremble with anticipation, swelled and mounted, like light and leaping towers, into the serene sky.
And if the clock happened to strike at the moment that we entered, how charmingly the notes of the mechanical carillon harmonised with this imaginary music! At the hours, the bells in the high tower of the Hôtel de Ville played a minuet and trio, tinkly and formal like the first composition of an infant Boccherini, which lasted till fully three minutes past. At the half-hours it was a patriotic air of the same length. But at the quarters the bells no more than began a tune. Three or four bars and the music broke off, leaving the listener wondering what was to have followed, and attributing to this fragmentary stump of an air some rich outflowering in the pregnant and musical silence, some subtle development which should have made the whole otherwise enchanting than the completed pieces that followed and preceded, and whose charm, indeed, consisted precisely in their old-fashioned mediocrity, in the ancient, cracked, and quavering sweetness of the bells that played them, and the defects in the mechanism, which imparted to the rhythm that peculiar and unforeseeable irregularity which the child at the piano, tongue between teeth, eyes anxiously glancing from printed notes to fingers and back again, laboriously introduces into the flawless evenness of “The Merry Peasant.”
This regular and repeated carillonage was and indeed still is—for the invaders spared the bells—an essential part of Longres, a feature like the silhouette of its three towers seen from far away between the poplars across the wide, flat land, characteristic and recognisable.
It is with a little laugh of amused delight that the stranger to Longres first hears the jigging airs and the clashes of thin, sweet harmony floating down upon him from the sky, note succeeding unmuted note, so that the vibrations mingle in the air, surrounding the clear outlines of the melody with a faint quivering halo of discord. After an hour or two the minuet and trio, the patriotic air, become all too familiar, while with every repetition the broken fragments at the quarters grow more and more enigmatic, pregnant, dubious, and irritating. The pink light fades from the three towers, the Gothic intricacies of the church sink into a flat black silhouette against the night sky; but still from high up in the topless darkness floats down, floats up and out over the house-tops, across the flat fields, the minuet and trio. The patriotic air continues still, even after sunset, to commemorate the great events of 1830; and still the fragments between, like pencillings in the notebook of a genius, suggest to the mind in the scribble of twenty notes a splendid theme and the possibility of fifteen hundred variations.
At midnight the bells are still playing; at half-past one the stranger starts yet again out of his sleep; re-evoked at a quarter to four his speculations about the possible conclusions of the unfinished symphony keep him awake long enough to hear the minuet and trio at the hour and to wonder how any one in Longres manages to sleep at all. But in a day or two he answers the question himself by sleeping unbrokenly through the hints from Beethoven’s notebook, and the more deliberate evocations of Boccherini’s childhood and the revolution of 1830. The disease creates its own antidote, and the habit of hearing the carillon induces gradually a state of special mental deafness in which the inhabitants of Longres permanently live.
Even as a small boy, to whom insomnia was a thing unknown, I found the bells, for the first night or two after my arrival in Longres, decidedly trying. My Uncle Spencer’s house looked on to the Grand’ Place itself, and my window on the third floor was within fifty yards of the belfry of the Hôtel de Ville and the source of the aerial music. Three-year-old Boccherini might have been in the room with me whenever the wind came from the south, banging his minuet in my ears. But after the second night he might bang and jangle as much as he liked; there was no bell in Longres could wake me.
What did wake me, however—every Saturday morning at about half-past four or five—was the pigs coming into market. One had to have spent a month of Saturdays in Longres before one could acquire the special mental deafness that could ignore the rumbling of cart-wheels over the cobbles and the squealing and grunting of two or three thousand pigs. And when one looked out what a sight it was! All the Grand’ Place was divided up by rails into a multitude of pens and pounds, and every pound was seething with pink naked pigs that looked from above like so much Bergsonian élan vital in a state of incessant agitation. Men came and went between the enclosures, talking, bargaining, critically poking potential bacon or ham with the point of a stick. And when the bargain was struck, the owner would step into the pen, hunt down the victim, and, catching it up by one leather ear and its thin bootlace of a tail, carry it off amid grunts that ended in the piercing, long-drawn harmonics of a squeal to a netted cart or perhaps to some other pen a little farther down the line.
Brought up in England to regard the infliction of discomfort upon an animal as being, if anything, rather more reprehensible than cruelty to my fellow-humans, I remember being horrified by this spectacle. So, too, apparently was the German army of occupation. For between 1914 and 1918 no pig in the Longres market might be lifted by tail or ear, the penalty for disobedience being a fine of twenty marks for the first offence, a hundred for the second, and after that a term of forced labour on the lines of communication. Of all the oppressive measures of the invader there was hardly one which more profoundly irritated the Limburgian peasantry. Nero was unpopular with the people of Rome, not because of his crimes and vices, not because he was a tyrant and a murderer, but for having built in the middle of the city a palace so large that it blocked the entrance to several of the main roads.
If the Romans hated him, it was because his golden house compelled them to make a circuit of a quarter of a mile every time they wanted to go shopping. The little customary liberties,
