Father Ressès was a great believer in what may be called ‘straight’ exorcism. He was persuaded, says Sœur Jeanne, that those who watched the exorcisms were greatly benefited by the sight of demons adoring the Sacrament. Surin had tried to “overthrow the rider by attacking the horse.” Ressés attacked the rider directly and in public—and attacked him regardless of the horse’s feelings and without any attempt to modify its behaviour.
“One day,” writes the Prioress, “a celebrated company being assembled, the good Father planned to perform some exorcisms for their spiritual good.” The Prioress told her director that she was feeling ill and that the exorcisms would do her harm. “But the good Father, who was most anxious to perform the exorcisms, told me to take courage and trust in God; after which he began the exorcism.” Sœur Jeanne was put through all her tricks, with the result that she took to her bed with a high fever and a pain in her side. Dr. Fanton, a Huguenot, but the best physician in the town, was called in. She was bled three times and given medicine. It was so effective that there was “an evacuation and flux of blood lasting seven or eight days.” She felt better; then, after a few more days, fell ill again. “Father Ressès thought fit to recommence the exorcisms; after which I was troubled by violent nausea and vomiting.” This was followed by fever, pain in the side and spitting of blood. Fanton was recalled, pronounced that she had pleurisy, bled her seven times in as many days and administered four clysters. After which he informed her that her malady was mortal. That night Sœur Jeanne heard an inward voice. It told her that she would not die, but that God would bring her into the last extremity of danger in order, the more gloriously, to manifest His power by healing her when she was at the very doors of death. For two days she seemed to grow steadily worse and weaker, so much so that, on the 7th of February, Extreme Unction was administered. The doctor was then sent for, and while she was awaiting his arrival Sœur Jeanne uttered the following prayer: “Lord, I have always thought that You wished to display some extraordinary mark of Your power in healing me of this sickness; if this be the case, reduce me to such a state that, when he sees me, the doctor will judge that I am past help.” Dr. Fanton came and pronounced that she had only one or two hours to live. Hurrying home he penned a report to Laubardemont, who was then in Paris. The pulse, he wrote, was convulsive, the stomach distended; the state of weakness was such that no remedies, not even a clyster, could have any effect. However, she was being given a small suppository in the hope that it might relieve an “oppression, so great that it cannot be described.” Not that this palliative would make any real difference; for the patient was in extremis. At half-past six Sœur Jeanne fell into a lethargy and had a vision of her good angel in the form of a wonderfully beautiful youth of eighteen, with long fair curls. The angel, we are told by Surin, was the living image of the duc de Beaufort, son of César de Vendôme, and grandson of Henri IV and Gabrielle d’Estrées. This prince had recently been in Loudun to see the devils, and his shoulder-length bob of golden hair had made a profound impression on the Prioress. After the angel came St. Joseph, who laid his hand on Sœur Jeanne’s right side, at the spot where she felt the greatest pain, and anointed her with some kind of oil. “After which I came to my senses and found myself completely cured.”
It was another miracle. Yet again Sœur Jeanne had demonstrated that, to some extent at least, she possessed her possessors. She had willed and suggested the expulsion of Leviathan, and now she had willed and suggested the disappearance of all the symptoms of an acute and apparently fatal psycho-somatic illness.
She got out of bed, dressed, went down to the chapel and joined her sisters in singing a Te Deum. Dr. Fanton was sent for again and, after being told of what had happened, remarked that the power of God is greater than that of our remedies. “Nevertheless,” writes the Prioress, “he would not be converted and declined in future to take care of us.”
Poor Dr. Fanton! After Laubardemont’s return to Loudun, he was called before a commission of magistrates and asked to sign a certificate to the effect that his patient’s restoration to health had been miraculous. He refused. Pressed to explain the reasons for this refusal he answered that the sudden passage from mortal sickness to perfect health might easily have happened in the course of nature. “By reason of the sensible issue of the humour, or by its insensible excretion through the pores of the skin, or else by the conveyance of the humour from the part where it caused these accidents to another, less important part. Furthermore, the distressing symptoms produced by the humour being in a certain place can be relieved without the necessity of a change of part; this is brought about by mitigation of the humour as it is subdued by nature, or by the onset of another humour which, being less savage, will blunt the acrimony of the first humour.” Dr. Fanton added that “manifest excretion is by urines and fluxes of the intestines, or by vomits, sweats and losses of blood; and that insensible excretion takes place when the parts discharge themselves insensibly; these last kinds of excretion are most frequent among patients who work up hot humours, notably bile, without seeing the signs of coction which precede such excretions, even though it may be in the moment of crisis and of the discharge of nature. It is obvious that, in the cure of diseases, smaller quantities of humours must leave the body when these have previously been evacuated by remedies, which carry away not merely the antecedent cause of diseases, but also their conjoint causes. To which must be added that, in their movements, the humours observe certain regular hours.” Molière, we perceive, invented nothing: he merely recorded.
Two days passed. Then the Prioress suddenly remembered that she had not wiped away the unction which had cured her, so that some of it must still be on her chemise. In the presence of the sub-Prioress she removed her habit. “Both of us smelled an admirable odour; I took off my chemise, which we then cut at the waist. On it were five drops of this divine balm, which gave forth an excellent perfume.”
“Where are your young mistresses?” Gorgibus asks at the beginning of Les Précieuses Ridicules. “In their room,” says Marotte. “What are they up to?” “Making pomade for the lips.” It was an age when every woman of fashion had to be her own Elizabeth Arden. Recipes for face creams and hand lotions, for rouge and perfume, were treasured as secret weapons or generously exchanged between particular friends. In her youth at home, and even since her profession, Sœur Jeanne had been a famous cosmetician and amateur pharmacist. St. Joseph’s unction came, we may suspect, from a source some way this side of heaven. But, meanwhile, there the Five Drops were, for all to see. “It is not to be believed,” writes the Prioress, “how great was the devotion of the people towards this blessed unction and how many miracles God worked by means of it.”
Sœur Jeanne now had two first-class prodigies to her credit, with a stigmatized hand and a perfumed chemise as perpetual witnesses to the extraordinary graces she had received. But this was not yet enough. At Loudun, she felt, her light had been put under a bushel, True, there were the tourists, the visiting princes, lords and prelates. But think of all the millions who would never make the pilgrimage! Think of the King and Queen! Think of His Eminence! Think of all the Dukes and Marquises, all the Marshals of France, all the Papal Legates, the Envoys Plenipotentiary and Extraordinary, the Doctors of the Sorbonne, the Deans, the Abbots, the Bishops and Archbishops! Shouldn’t these be given a chance to admire the marvels, to see and hear the humble recipient of such astounding favours?
Coming from her own lips, the suggestion might have seemed presumptuous, and so it was Behemoth who first broached the subject. When, after the most strenuous of exorcisms, Father Ressès asked him why he so stubbornly resisted, the fiend replied that he would never leave the Prioress’s body until that body had made a pilgrimage to the tomb of St. François de Sales at Annecy, in Savoy. Exorcism followed exorcism. Under the torrent of anathemas Behemoth merely smiled. To his earlier ultimatum he now added another condition: Father Surin must be recalled—otherwise even the trip to Annecy would be of no avail.
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By the middle of June Surin was back at Loudun. But the pilgrimage proved harder to arrange. Vitelleschi, the General of the Order, did not like the idea of one of his Jesuits promenading through France with a nun; and on his side the Bishop of Poitiers did not like the idea of one of his nuns promenading with a Jesuit. Besides, there was the question of money. The royal treasury was, as usual, empty. What with the subsidies to the nuns and the salaries of the exorcists, the possession had already cost a pretty penny. There was nothing to spare for jaunts to Savoy. Behemoth stuck to his guns. As a great concession, he agreed to take his leave at Loudun—but only if Sœur Jeanne and Surin were permitted to make a vow to go to Annecy afterwards. In the end he had his way. Surin and Sœur Jeanne were permitted to meet at the tomb of St. Francis, but would have to go and come by different roads. The vows were made and, a little later, on 15th October, Behemoth departed. Sœur Jeanne was free. Two weeks later Surin returned to Bordeaux. The following spring Father Tranquille died in a paroxysm of demoniac frenzy. The treasury ceased to pay the salary of the surviving exorcists, who were all recalled to their various houses. Left to themselves such devils as remained soon took their leave. After six years of incessant struggle, the Church Militant gave up the fight. Its enemies promptly disappeared. The long orgy was at an end. If there had been no exorcists, it would never have begun.
CHAPTER X
W
ITH Sœur Jeanne’s pilgrimage we emerge for a few brief weeks from the shades of a provincial cloister into the great world. It is the world of the history books, the world of royal personages and intriguing courtiers, the world of duchesses with a taste for love and prelates with a taste for power, the world of high policy and high fashion, of Rubens and Descartes, of science, literature, learning. From Loudun and the company of a mystic, seven devils and sixteen hysterics, the Prioress now stepped out into the full glare of the seventeenth century.
The charm of history and its enigmatic lesson consist in the fact that, from age to age, nothing changes and yet everything is completely different. In the personages of other times and alien cultures we recognize our all too human selves and yet are aware, as we do so, that the frame of reference within which we do our living has changed, since their day, out of all recognition, that propositions which seemed axiomatic then are now untenable and that what we regard as the most self-evident postulates could not, at an earlier period, find entrance into even the most boldly speculative mind. But however great, however important for thought and technology, for social organization and behaviour, the differences between then and now are always peripheral. At the centre remains a fundamental identity. In so far as they are incarnated minds, subject to physical decay and death, capable of pain and pleasure, driven by craving and abhorrence and oscillating between the desire for self-assertion and the desire for self-transcendence, human beings are faced, at every time and place, with the same problems, are confronted by the same temptations and are permitted by the Order of Things to make the same choice between unregeneracy and enlightenment. The context changes, but the gist and the meaning are invariable.
Sœur Jeanne was in no position to understand the prodigious developments in scientific thought and practice which had begun to take place in the world around her. Of those aspects of seventeenth-century culture represented by Galileo and Descartes, by Harvey and van Helmont, the Prioress was totally unaware. What she had known as a child, and what she now rediscovered in the course of her pilgrimage, was the social hierarchy and the conventions of thought and feeling and behaviour to which the existence of that hierarchy gave rise.
In one of its aspects the culture of the seventeenth century, especially in France, was simply a prolonged effort, on the part of the ruling minority, to overstep the limitations of organic existence. More than at almost any other period of recent history, men and women aspired to identify themselves with their social persona. They were not content merely to bear a great name; they longed to be it. Their ambition was actually to become the offices they held, the dignities they had acquired or inherited. Hence the elaboration of baroque ceremonial, hence those rigid and complex codes of precedence, of honour, of good manners. Relations were not between human beings, but between titles, genealogies and positions. Who had the right to sit in the royal presence? For Saint-Simon, at the end of the century, the question was one of capital importance. Three generations earlier, similar questions had preyed upon the mind of the infant Louis XIII. By the time he was four he had come to feel very strongly that his bastard half-brother, the Duke of Vendôme, should not be permitted to eat his meals with him or remain covered in his presence. When Henri IV decreed that “Féfé Vendôme” was to sit at the Dauphin’s table and keep his hat on while dining, the little Prince was forced to obey—but with the worst possible grace. Nothing more vividly illuminates the theory and practice of the Divine Right of Kings than this matter of the royal hat. At nine years of age Louis XIII passed from the care of a governess to that of a governor. In the presence of a being who was, by definition, divine, the King’s tutor remained permanently hatless. And this rule held good even when (as the late King and the Queen Mother had charged him to do) he was inflicting corporal punishment on his pupil. On these occasions the monarch, with his hat on, but his pants off, was birched till the blood ran by a subject, reverently bare-headed, as though before the Sacrament on the altar. The spectacle, as we try to visualize it, is unforgettably instructive. “There’s a divinity doth hedge a king, rough-hew him how we may.”
The longing to be something more than mere flesh and blood reveals itself very clearly in the arts of our period. Kings and queens, lords and ladies, liked to think of themselves as Rubens represented their persons and their allegorized characteristics—as superhumanly energetic, divinely healthy, heroically commanding. They were ready to pay through the nose in order to see themselves as Van Dyck portraits—elegant, refined, infinitely aristocratic. In the theatre they loved the heroes and heroines of Corneille, loved them for their mere size, loved them for their monolithic and superhuman consistency, their cult of the will, their worship of themselves. And ever more strictly, as the years went by, they insisted on the unities of time, place and action; for what they wished to see in their tragic theatre was not life as it is, but life corrected, life reduced to order, life as it might be if only men and women were something other than what in fact they are.
In the field of domestic architecture the desire for a more than human grandiosity was no less conspicuously displayed. The fact was remarked by a poet who was a boy when the Palais Cardinal was building and who died before Versailles was completed—Andrew Marvell.
Why should, of all things, man unrul’d
Such unproportioned dwellings build?
The beasts are by their dens express’d
And birds contrive an equal nest;
The low-roofed tortoises do dwell
In cases fit of tortoise-shell:
No creature loves an empty space;
Their bodies measure out their place.
But he, superfluously spread,
Demands more room alive than dead,
And in his hollow palace goes
Where winds, as he, themselves may lose.
What need of all this marble crust
T’impark the wanton mote of dust?
And as the marble crusts expanded, the periwigs of the wanton motes imparked within them became more luxuriant, the heels of their shoes yet higher. Tottering on stilts and crowned with towering piles of horse-hair, the Grand Monarch and his courtiers proclaimed themselves larger than life and hairier than Samson at the height of his virility.
Needless to say, these attempts to overstep the limits set by nature were always unsuccessful. Doubly so; for not only did our seventeenth-century ancestors fail to be, they failed even to seem, superhuman. The absurd and bumptious spirit was willing enough; but the flesh was incurably weak. The Grand Siècle did not possess the material and organizational reso
urces, without which the game of pretending to be superhuman cannot be played. That sublimity, those prodigies of grandeur, which Richelieu and Louis XIV so ardently desired, can be achieved only by the greatest of stage managers, by a Ziegfeld, a Cochran, a Max Reinhardt. But great showmanship depends on an armoury of gadgets, a well-stocked property-room and the highly trained and disciplined collaboration of all concerned. In the Grand Siècle such training and discipline were lacking, and even the material basis of theatrical sublimity—the machina which introduces and, indeed, creates the deus—was deficient. Even Richelieu, even the Sun King were “Old Men of Thermopylae, who never did anything properly.” Versailles itself was curiously unimpressive—gigantic but trivial, grandiose but of no effect. Seventeenth-century pageantry was sloppy to a degree. Nothing was adequately rehearsed, and the most grotesque of avoidable mishaps would mar the most solemn of occasions. Consider, for example, the case of La Grande Mademoiselle, that pathetic figure of fun who was Louis XIV’s first cousin. After death, according to the curious custom of the time, her body was dissected and buried piecemeal—here the head and there a limb or two, here the heart and there the entrails. These last were so badly embalmed that, even after treatment, they went on fermenting. The gases of putrefaction accumulated and the porphyry urn containing the viscera became a kind of anatomic bomb, which suddenly exploded, in the middle of the funeral service, to the horror and dismay of all present.
Such physiological accidents were by no means exclusively posthumous. The authors of memoirs and the collectors of anecdotes abound in stories about belching in high places, about the breaking of wind in a royal presence, about the gamy aroma of kings, the bromidrosis of dukes and marshals. Henri IV’s feet and armpits enjoyed an international reputation. Bellegarde had a perpetually running nose, Bassompierre a set of toes which rivalled those of his royal master. The copiousness of these anecdotes and the delighted amusement, which the telling of them evidently evoked, were in direct proportion to the enormity of kingly and aristocratic pretensions. It was precisely because great men tried to seem more than human that the rest of the world welcomed any reminder that, in part at least, they were still merely animal.