The Devil's Pool, by George Sand

I— The Tillage of the Soil

I HAD just been looking long and sadly at Holbein’s plowman, and was walking through the fields, musing on rustic life and the destiny of the husbandman. It is certainly tragic for him to spend his days and his strength delving in the jealous earth, that so reluctantly yields up her rich treasures when a morsel of coarse black bread, at the end of the day’s work, is the sole reward and profit to be reaped from such arduous toil. The wealth of the soil, the harvests, the fruits, the splendid cattle that grow sleek and fat in the luxuriant grass, are the property of the few, and but instruments of the drudgery and slavery of the many. The man of leisure seldom loves, for their own sake, the fields and meadows, the landscape, or the noble animals which are to be converted into gold for his use. He comes to the country for his health or for change of air, but goes back to town to spend the fruit of his vassal’s labor.

On the other hand, the peasant is too abject, too wretched, and too fearful of the future to enjoy the beauty of the country and the charms of pastoral life. To him, also, the yellow harvest-fields, the rich meadows, the fine cattle represent bags of gold; but he knows that only an infinitesimal part of their contents, insufficient for his daily needs, will ever fall to his share. Yet year by year he must fill those accursed bags, to please his master and buy the right of living on his land in sordid wretchedness. Yet nature is eternally young, beautiful, and generous. She pours forth poetry and beauty on all creatures and all plants that are allowed free development.

She owns the secret of happiness, of which no one has ever robbed her. The happiest of men would be he who, knowing the full meaning of his labor, should, while working with his hands, find his happiness and his freedom in the exercise of his intelligence, and, having his heart in unison with his brain, should at once understand his own work and love that of God, The artist has such delights as these in contemplating and reproducing the beauties of nature; but if his heart be true and tender, his pleasure is disturbed when he sees the miseries of the men who people this paradise of earth. True happiness will be theirs when mind, heart, and hand shall work in concert in the sight of Heaven, and there shall be a sacred harmony between God’s goodness and the joys of his creatures. Then, instead of the pitiable and frightful figure of Death stalking, whip in hand, across the fields, the painter of allegories may place beside the peasant a radiant angel, sowing the blessed grain broadcast in the smoking furrow. The dream of a serene, free, poetic, laborious, and simple life for the tiller of the soil is not so impossible that we should banish it as a chimera. The sweet, sad words of Virgil: “Oh, happy the peasants of the field, if they knew their own blessings!” is a regret, but, like all regrets, it is also a prophecy. The day will come when the laborer too may be an artist, and may at least feel what is beautiful, if he cannot express it — a matter of far less importance. Do not we know that this mysterious poetic intuition is already his, in the form of instinct and vague reverie? Among those peasants who possess some of the comforts of life, and whose moral and intellectual development is not entirely stifled by extreme wretchedness, pure happiness that can be felt and appreciated exists in the elementary stage; and, moreover, since poets have already raised their voices out of the lap of pain and of weariness, why should we say that the labor of the hands excludes the working of the soul? Without doubt this exclusion is the common result of excessive toil and of deep misery; but let it not be said that when men shall work moderately and usefully there will be nothing but bad workers and bad poets. The man who draws in noble joy from the poetic feeling is a true poet, though he has never written a verse all his life.

My thoughts had flown in this direction, without my perceiving that my confidence in the capacity of man for education was strengthened by external influences. I was walking along the edge of a field, which some peasants were preparing to sow. The space was vast as that in Holbein’s picture; the landscape, too, was vast and framed in a great sweep of green, slightly reddened by the approach of autumn. Here and there in the great russet field, slender rivulets of water left in the furrows by the late rains sparkled in the sunlight like silver threads. The day was clear and mild, and the soil, freshly cleft by the plowshare, sent up a light steam. At the other extremity of the field, an old man, whose broad shoulders and stern face recalled Holbein’s plowman, but whose clothes carried no suggestion of poverty, was gravely driving his plow of antique shape, drawn by two placid oxen, true patriarchs of the meadow, tall and rather thin, with pale yellow coats and long, drooping horns. They were those old workers who, through long habit, have grown to be brothers, as they are called in our country, and who, when one loses the other, refuse to work with a new comrade, and pine away with grief. People who are unfamiliar with the country call the love of the ox for his yoke-fellow a fable. Let them come and see in the corner of the stable one of these poor beasts, thin and wasted, restlessly lashing his lean flanks with his tail, violently breathing with mingled terror and disdain on the food offered him, his eyes always turned toward the door, scratching with his hoof the empty place at his side, sniffing the yokes and chains which his fellow used to wear, and incessantly calling him with melancholy lowings. The ox-herd will say: “There is a pair of oxen gone;’ this one will work no more, for his brother is dead. We ought to fatten him for the market, but he will not eat, and will soon starve himself to death.” The old laborer worked slowly, silently, and without waste of effort His docile team were in no greater haste than he; but, thanks to the undistracted steadiness of his toil and the judicious expenditure of his strength, his furrow was as soon plowed as that of his son, who was driving, at some distance from him, four less vigorous oxen through a more stubborn and stony piece of ground.

My attention was next caught by a fine spectacle, a truly noble subject for a painter. At the other end of the field a fine-looking youth was driving a magnificent team of four pairs of young oxen, through whose somber coats glanced a ruddy, glow-like name. They had the short, curry heads that belong to the wild bull, the same large, fierce eyes and jerky movements; they worked in an abrupt, nervous way that showed how they still rebelled against the yoke and goad, and trembled with anger as they obeyed the authority so recently imposed. They were what is called “newly yoked” oxen. The man who drove them had to clear a corner of the field that had formerly been given up to pasture, and was filled with old tree-stumps; and his youth and energy, and his eight half-broken animals, hardly sufficed for the Herculean task.

A child of six or seven years old, lovely as an angel, wearing round his shoulders, over his blouse, a sheepskin that made him look like a little Saint John the Baptist out of a Renaissance picture, was running along in the furrow beside the plow, pricking the flanks of the oxen with a long, light goad but slightly sharpened. The spirited animals quivered under the child’s light touch, making their yokes and head-bands creak, and shaking the pole violently. Whenever a root stopped the advance of the plowshare, the laborer would call every animal by name in his powerful voice, trying to calm rather than to excite them; for the oxen, irritated by the sudden resistance, bounded, pawed the ground with their great cloven hoofs, and would have jumped aside and dragged the plow across the fields, if the young man had not kept the first four in order with his voice and goad, while the child controlled the four others. The little fellow shouted too, but the voice which he tried to make of terrible effect, was as sweet as his angelic face. The whole scene was beautiful in its grace and strength; the landscape, the man, the child, the oxen under the yoke; and in spite of the mighty struggle by which the earth was subdued, a deep feeling of peace and sweetness reigned over all. Each time that an obstacle was surmounted and the plow resumed its even, solemn progress, the laborer, whose pretended violence was but a trial of his strength, and an outlet for his energy, instantly regained that serenity which is the right of simple souls, and looked with fatherly pleasure toward his child, who turned to smile back at him. Then the young father would raise his manly voice in the solemn and melancholy chant that ancient tradition transmits, not indeed to all plowmen indiscriminately, but to those who are most perfect in the art of exciting and sustaining the spirit of cattle while at work. This song, which was probably sacred in its origin, and to which mysterious influences must once have been attributed, is still thought to possess the virtue of putting animals on their mettle, allaying their irritation, and of beguiling the weariness of their long, hard toil. It is not enough to guide them skilfully, to trace a perfectly straight furrow, and to lighten their labor by raising the plowshare or driving it into the earth; no man can be a consummate husbandman who does not know how to sing to his oxen, and that is an art that requires taste and especial gifts. To tell the truth, this chant is only a recitative, broken off and taken up at pleasure. Its irregular form and its intonations that violate all the rules of musical art make it impossible to describe.

But it is none the less a noble song, and so appropriate is it to the nature of the work it accompanies, to the gait of the oxen, to the peace of the fields, and to the simplicity of the men who sing it, that no genius unfamiliar with the tillage of the earth, and no man except an accomplished laborer of our part of the country, could repeat it. At the season of the year when there is no work or stir afoot except that of the plowman, this strong, sweet refrain rises like the voice of the breeze, to which the key it is sung in gives it some resemblance. Each phrase ends with a long trill, the final note of which is held with incredible strength of breath, and rises a quarter of a tone, sharping systematically. It is barbaric, but possesses an unspeakable charm, and anybody, once accustomed to hear it, cannot conceive of another song taking its place at the same hour and in the same place, without striking a discord.

So it was that I had before my eyes a picture the reverse of that of Holbein, although the scene was similar. Instead of a wretched old man, a young and active one; instead of a team of weary and emaciated horses, four yoke of robust and fiery oxen; instead of death, a beautiful child; instead of despair and destruction, energy and the possibility of happiness.

Then the old French verse, “À la sueur de ton vis-aige,” etc., and Virgil’s “O fortunatos . . . agricolas,” returned to my mind, and seeing this lovely child and his father, under such poetic conditions, and with so much grace and strength, accomplish a task full of such grand and solemn suggestions, I was conscious of deep pity and involuntary respect. Happy the peasant of the fields! Yes, and so too should I be in his place, if my arm and voice could be endowed with sudden strength, and I could help to make Nature fruitful, and sing of her gifts, without ceasing to see with my eyes or understand with my brain harmonious colors and sounds, delicate shades and graceful outlines; in short, the mysterious beauty of all things. And above all, if my heart continued to beat in concert with the divine sentiment that presided over the immortal sublimity of creation.

But, alas! this man has never understood the mystery of beauty; this child will never understand it. God forbid that I should not think them superior to the animals which are subject to them, or that they have not moments of rapturous insight that soothe their toil and lull their cares to sleep. I see the seal of the Lord upon their noble brows, for they were born to inherit the earth far more truly than those who have bought and paid for it. The proof that they feel this is that they cannot be exiled with impunity, that they love the soil they have watered with their tears, and that the true peasant dies of homesickness under the arms of a soldier far from his native field. But he lacks some of my enjoyments, those pure delights which should be his by right, as a workman in that immense temple which the sky only is vast enough to embrace. He lacks the consciousness of his sentiment. Those who condemned him to slavery from his mother’s womb, being unable to rob him of his vague dreams, took away from him the power of reflection.

Yet, imperfect being that he is, sentenced to eternal childhood, he is nobler than the man in whom knowledge has stifled feeling. Do not set yourselves above him, you who believe yourselves invested with a lawful and inalienable right to rule over him, for your terrible mistake shows that your brain has destroyed your heart, and that you are the blindest and most incomplete of men! I love the simplicity of his soul more than the false lights of yours; and if I had to narrate the story of his life, the pleasure I should take in bringing out the tender and touching side of it would be greater than your merit in painting the degradation and contempt into which he is cast by your social code.

I knew the young man and the beautiful child; I knew their history, for they had a history. Everybody has his own, and could make the romance of his life interesting, if he could but understand it. Although but a peasant and a laborer, Germain had always been aware of his duties and affections. He had related them to me clearly and ingenuously, and I had listened with interest. After some time spent in watching him plow, it occurred to me that I might write his story, though that story were as simple, as straightforward, and unadorned as the furrow he was tracing.

Next year that furrow will be filled and covered by a fresh one. Thus disappear most of the footprints made by man in the field of human life. A little earth obliterates them, and the furrows we have dug succeed one another like graves in a cemetery. Is not the furrow of the laborer of as much value as that of the idler, even if that idler, by some absurd chance, have made a little noise in the world, and left behind him an abiding name?

I mean, if possible, to save from oblivion the furrow of Germain, the skilled husbandman. He will never know nor care, but I shall take pleasure in my talk.

http://ebooks.adelaide.edu.au/s/sand/george/devils_pool/chapter1.html

Last updated Wednesday, March 5, 2014 at 22:29